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”
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.
Continue reading “393 The transparent connoisseur 6: Johnny One Work”
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
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”
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.
Professional astronomers, ornithologists, entomologists and other scientists have a symbiotic relationship with amateurs, who do the boring fieldwork for which they have no time. Schwartz was able, as a publisher, to foster a bond of that kind in the study of Dutch still-life painters.
The full version of an essay published in the catalogue to the exhibition Rembandt’s Orient: West Meets East in Dutch Art of the Seventeenth Century, Basel (Kunstmuseum Basel) and Potsdam (Museum Barberini) 2020-21.
In giving Schwartzlist 385 the title “The Dutchness of English art,” I succumbed to the irresistible temptation to take on Nikolaus Pevsner’s classic “The Englishness of English art” and Christopher Brown’s “The Dutchness of Dutch art.” A number of readers felt that I thereby cut corners. The present column is a remake, with an unassailably clearcut definition of its scope and a properly modest title. Continue reading “386 Dutchness* in 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.
For the befriended art dealer Saam Nystad, in 1983 Schwartz researched three paintings he had on offer. Four decades later, he was able to borrow for his exhibition Rembrandt’s Orient, one of them, Pieter Lastman’s Jephtha’s daughter, from the museum to which it had been sold, Kunstmuseum Winterthur.