385 The Dutchness of English art

In the second half of the seventeenth century, Dutch artists swarmed all over Europe in search of earnings that were drying up at home. They virtually annexed the art scene of Great Britain, giving shape to much of what we think of as English culture. Schwartz’s view of British Baroque.

Continue reading “385 The Dutchness of English art”

384 The man who was Charlotte’s muse

Few of us ever come as deeply under the influence of another person as Charlotte Salomon was affected by Alfred Wolfsohn. To his charismatic teachings we owe the existence of one of the great works of art of the twentieth century. One tie that bound them to each other was the movies. A new exhibition shows how.

Continue reading “384 The man who was Charlotte’s muse”

383 A victim of police murder I knew

The murder of George Floyd kindles Schwartz’s nightmarish memory of the killing of a person he knew who died at the hands of the police. In all their differences, both are dramatic instances of lethal abuse by a US policeman against an unarmed victim. With shocking images.

Continue reading “383 A victim of police murder I knew”

382 Counting back from the end

The New York art gallery of Nicholas Hall asked me to contribute to a series of online writings called Food for Thought. My own thoughts went back to the 1990s, when I brought myself to pick up a research project I had abandoned in the 1960s. Impacted by current events, the memories are fraught with thoughts of mortality.

Continue reading “382 Counting back from the end”

380 Whitewashing Rembrandt, part 2

This is a two-part series about archive researchers incapable of accepting that Rembrandt was manipulative, no more trustworthy than he had to be, tricky with money, capable of great cruelty, and about whom in his century few people had a nice word to say. Both of these researchers added significantly to our knowledge of Rembrandt’s life, and both coupled their archival citations to tendentious claims that the documents absolve Rembrandt of all stigma.

Continue reading “380 Whitewashing Rembrandt, part 2”

379 Whitewashing Rembrandt, part 1

This is a two-part series about archive researchers, one in 1852 and one in 2019, who were incapable of accepting that Rembrandt was manipulative, no more trustworthy than he had to be, tricky with money, capable of great cruelty and downwardly mobile. Both of these researchers added significantly to our knowledge of Rembrandt’s life, and both coupled their archival findings to the tendentious claim that the documents absolve Rembrandt of all stigma. Continue reading “379 Whitewashing Rembrandt, part 1”

378 “The mother’s eye reveals the son”

A splendid documentary on the ownership of and trade in Rembrandt paintings prompts Schwartz to ask questions not posed in the film. What went on behind the scenes in Paris to allow the Rothschild family to sell abroad a treasure of French cultural heritage? And could the Duke of Buccleuch’s painting of an old woman reading not be the mother of Jan Six?


Continue reading “378 “The mother’s eye reveals the son””

377 Three discoveries by Jan de Hond of which I am envious*

My research paths have crossed those of Jan de Hond in various ways for twenty years now. Again and again, he has beaten me to the punch in putting his finger on vital items. A tribute to a gifted colleague. Continue reading “377 Three discoveries by Jan de Hond of which I am envious*”

376 Article 50

A little over half a year into the Brexit Show, the author of the famous Article 50 that enabled it to happen talked to the Dutch journalist Melle Garschagen, for a piece that appeared in NRC Handelsblad on 4 January 2017. It led me to write to this distinguished diplomat and peer, whose reply to me is the provisional highpoint in my interaction with the powers that be.

Continue reading “376 Article 50”