Schwartzlist columns

411 Vermeeren of verminderen: in memory of Albert Blankert

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.


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410 Ceci n’est pas une peinture

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.

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409 “I’m certain Rembrandt loves me”

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.”

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408 The iconophile Sephardi in me

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.

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Love in the kunstkamer: additions to the work of Guillam van Haecht (1593-1637)

An exploration of the riches of beauty and meaning invested in and taken from art by Guillam van Haecht and his patron Cornelis van der Geest. Published in the Dutch art magazine Tableau, the summer issue of 1996, pp. 43-52.

LoveInTheKunstkamerTableauSummer1996

407 The Rembrandt virus, the Syndics variant

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.

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405 Early Vermeer body fluids

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.


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404 Dutch art outside in

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”

403 Good Jews and bad Jews in 1620 and 1630

On four successive Mondays, from 21 January to 14 February, I moderated a webinar on the theme “Rembrandt seen through Jewish eyes,” in preparation for an exhibition of that name in the Jewish Museum and Tolerance Center in Moscow. One point of disagreement among the speakers was how welcoming the Netherlands was to Jewish immigrants. I felt that some speakers had too rose-colored an impression of things, for which I bring the following heavy evidence to bear.

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