Schwartzlist columns

394 The Rembrandt theft of a hundred years ago today

A centennial moment in Schwartz’s art-historical life. One hundred years ago today a Rembrandt self-portrait was stolen from the museum in Weimar. He is writing a book on the painting. A snippet from its fascinating story. Plus a complete lecture and q&a on the exhibition Rembrandt’s orient. Continue reading “394 The Rembrandt theft of a hundred years ago today”

393 The transparent connoisseur 6: Johnny One Work

There are nearly one-and-a-half times as many recorded Dutch painters of the seventeenth century by whom not a single work is known than masters with an identified oeuvre. And then there are those by whom we know only one really good painting. Where did their lost paintings go? Lots were thrown away, but others, Schwartz argues, are catalogued under well-known names. This subverts one of the basic assumptions of the connoisseur’s attribution.
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392 “Charlotte” at 40

On the 26th of February 1981 three events took place that laid the basis for the recognition of Charlotte Salomon (1917-1943) as the creator of one of the great works of art of the twentieth century. An exhibition of her work opened in the Jewish Historical Museum in Amsterdam; the film “Charlotte,” directed by Frans Weisz with a scenario by him and Judith Herzberg, had its première; and the first complete edition of her monumental work Life? or Theater? was published. Schwartz was the publisher of the book. He looks back with a sense of achievement, unfortunately blighted by recent events.

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The making of Life? or Theater?

This text was written, in Dutch, for the magazine of the Jewish Historical Museum in Amsterdam, to mark the fortieth anniversary of the publication of the first integral edition of the great creation of Charlotte Salomon (1917-43), Life? or Theater? The original work is in care of the museum, and since its publication in book form has constantly been on demand for exhibitions all over the world. The English translation below was generated with astonishing accuracy by Google Translate and edited by me. See also
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89: Cosmopolitans and other border-crossers

Nexus is a remarkable institution, based first in Tilburg University and since 2017 the VU University in Amsterdam, while claiming to fulfill a function that universities have largely forsaken. That function is the preservation and promulgation of high European culture. Nexus publishes a journal and holds conferences at which leading intellectuals speak and exchange opinions. Schwartz reflects on the conference of 1999. Continue reading “89: Cosmopolitans and other border-crossers”

390 What did Rembrandt have against spires?

Rembrandt suffered from a rare condition that has not yet been diagnosed. He had an aversion to spires and sometimes to towers, lopping them off his depictions of buildings we know to have had them. Schwartz worries the issue.

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From Otto Benesch to Peter Schatborn: a concordance

For whatever bad reason this has happened, the long-awaited catalogue of Rembrandt’s drawings by Peter Schatborn, former head of the department of prints and drawings of the Rijksmuseum, has been published without a concordance in which one can look up the drawings by their Benesch numbers. Those are the numbers that have been used universally since the appearance in 1954-57 of the catalogue by Otto Benesch, edited by his wife Eva Benesch, In 1974, after the death of Otto, Eva brought out a revised edition. Both were published by Phaidon Press. Peter Schatborn’s catalogue came out in 2019 in a volume that also contains Rembrandt’s etchings: Peter Schatborn and Erik Hinterding, Rembrandt: the complete etchings and drawings, Cologne (Taschen) 2019.

Because I found Schatborn’s catalogue unacceptably irritating to use without a concordance – for which reason I have not been using it at all – I have made a concordance, which I make available to all.

Concordance of Benesch numbers with Schatborn numbers

Comparing Rembrandt and Saenredam: Het belang van banale zaken

In an article in the Dutch art magazine Kunstschrift, the editor, Mariette Haveman, disparaged the importance Schwartz attaches to documentary records as evidence for understanding Rembrandt as a person. Schwartz responds.

Letter to the editor: Gary Schwartz, 8 December 1991: “Het belang van banale zaken,” Kunstschrift 36:1 (1992), p. 6

1992HetBelangVanBanaleZaken

389 Botticelli’s Primavera as an image of Santa Maria del Fiore

A guest column by Loekie Schwartz. The calm central figure in the Primavera is framed by a bower with the shape of the cupola of Florence Cathedral, Santa Maria del Fiore. The visual rhyme is intended to convey that she partakes both in the floral association of the name and its Marian essence. A further link between painting and cathedral is to be found in a writing by Alberti, where the Duomo is called a springtime refuge from the vicissitudes of the world outside.  Please copy to students of Italian art and literature. Continue reading “389 Botticelli’s Primavera as an image of Santa Maria del Fiore”

388 Convention and uniqueness in Rembrandt’s response to the east

On 29 and 30 October 2020, the ceremonial openings were to have taken place of an exhibition in Kunstmuseum Basel of which I am guest curator: Rembrandt’s orient: west meets east in Dutch art of the seventeenth century. Because of the pandemic, no openings are being held. Today, I am pleased to say, 31 October, the exhibition is open to the public. Travel restrictions have kept me from being in on the hanging or seeing the exhibition at all for the time being. I can only hope that I can see it before it closes on 14 February 2021 and that by the time the exhibition moves on to Museum Barberini in Potsdam in March 2021 there will be an opening at which I can speak. The catalogue includes an essay of mine on Rembrandt. It had to be shortened, but I have permission from the museums to publish the complete version on the Schwartzlist. The essay is a review of oriental motifs in Rembrandt’s art, which tend to be conventional, and an argument concerning the nature of one group of works that is entirely unique.

To entice you into reading the essay, this column shows only the illustrations. To find out what I have to say about them, click here.

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