A Dutch museum features a fascinating painting of the art of painting itself, in the guise of a woman artist at the easel. The museum ignores overwhelming evidence for its origins in a collaboration between Jan Brueghel I and Frans Francken II and wrongheadedly gives it to Jan Brueghel II.
Between the 1610s and 1650 an enchanting form of painting was produced in Antwerp and Antwerp alone: the kunstkamer painting, an evocation of an art collection in which actions of various kinds take place. Love of art is not the only kind of love expressed in these paintings. In one of the very earliest examples of the genre, Schwartz discovers conjugal and filial love as well as love for God. Continue reading “311 Love in the huiskamer”