Pondering an old, bitter debate, Schwartz puts together some previously unconnected pieces. In one year, 1654, Rembrandt painted two bathing women who make you think of sex, both of whom have been linked to models in classical antiquity. Leading to a daring conclusion.
Nearly forty years after his death, Abner Schram, the U.S. distributor of the books Schwartz published from 1971 to 1988, continues to impose his overbearing, endearing self on Schwartz. To bring him back and perhaps to lay his ghost, he tells about the man and publishes their complete correspondence. Continue reading “412 Remembering Abner Schram”
Translation: Increase or decrease [the number of paintings by Vermeer, whose name is baked into the Dutch word for increasing.] My oldest and dearest friend in the Netherlands, Albert Blankert, died last Tuesday. I am channeling and seconding his inspired take on a current Vermeer dispute.
Schwartz thought that his love for art in museums was strong enough to assure his enjoyment of museums, even while acknowledging that they removed art from its original locations and contexts. Last month he took a shock to the system, in Venice. For Doeschka and Bernard.
The exhibition at the Jewish Museum and Tolerance Center in Moscow on which I have been working for five years with Mirjam Knotter of the Jewish Museum in Amsterdam. “Rembrandt seen through Jewish eyes,” has been postponed indefinitely. Still, I have to submit text for the Russian-language catalogue that was going to be printed. Here are fragments from the section “Jewish artists discover Rembrandt.”
Do you feel kin to people who lived in your house in the past? Schwartz indulges in the exercise, finding out that he is the successor to members of an intertwined Sephardi clan of jewelers and merchants in diamonds and pearls, members of which were Rembrandt’s next-door neighbors, while another commissioned a staggering Antwerp painting he has studied.
Never would I ask you to pity the poor Rembrandt specialist. I regret not a moment of the years I have put into studying him. But besides the outreach of my publications and lectures, there is also inreach, which can be challenging. Read about the biggest painting I have ever been called upon to certify as a Rembrandt.
Braving danger and discomfort, Schwartz once more treated himself to a visit to the foremost fair for old master art, TEFAF. He shares thoughts and impressions.
Did Vermeer’s Kitchen maid, an icon of Dutchness, have an older, Italian sister? Schwartz finds her resemblance to an earlier, unjustifiedly doubted, Vermeer copy after an Italian painting of a saint so convincing that he sticks his neck out to argue that she does.
Dutch art, an export product from the start, has found its way into hundreds of museums and university curriculums in large stretches of the world. This might be on the decline, but there are still institutions outside the Netherlands devoted to the art Schwartz most loves. Continue reading “404 Dutch art outside in”