Schwartzlist columns

“Though deficient in beauty”: a documentary history and interpretation of Rembrandt’s 1654 painting of Bathsheba

“‘Though deficient in beauty’: a documentary history and interpretation of Rembrandt’s 1654 painting of Bathsheba,” in: Rembrandt’s Bathsheba reading King David’s letter, ed. Ann Jensen Adams, Cambridge, England (Cambridge University Press) 1998, pp. 176-203

For a volume on Rembrandt’s Bathsheba in the Cambridge University Press series Masterpieces of Western painting, edited by Ann Adams, I contributed an essay on the provenance and critical history of the painting, ending with an interpretation of my own.

Schwartz 1998 Though deficient in beauty – Bathsheba

413 Gazing through King David’s eyes at irresistible beauty

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.

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412 Remembering Abner Schram

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”

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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