Gary Schwartz, “The clones make the master: Rembrandt in 1650,” in: Horizonte: Beiträge zu Kunst und Kunstwissenschaft | Horizons: essais sur l’art et sur son histoire | orizzonti: saggi sull’arte e sulla storia dell’arte | Horizons: essays on art and art research, Zürich (Schweizerisches Institut für Kunstwissenschaft) and Ostfildern-Ruit, Germany (Hatje Cantz) 2001, pp. 53-64
Horizonte is a volume of studies published to mark the 50th anniversary of the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research). The article deals with unacknowledged ambiguities in our understanding of Rembrandt.
The terms Rembrandt school, Rembrandt workshop and Pre-Rembrandtist are taken for granted too unquestioningly. In fact, they have created immense confusion. Anticipating the second conference of Rembrandt specialists at Herstmonceux Castle in July 2011, Schwartz calls for a more critical look at the Rembrandt ambit. Continue reading “314 @RembrandtFollowers”
Diego Velázquez was a better artist than his master, Francisco Pacheco. This is reason enough for some art historians to deny that Pacheco, the leading Seville artist of his day, was a formative influence on his pupil. Schwartz sees this as an affront to the historical study of art, and he rallies to set matters straight. Below the line his welcome greeting to the new Dutch government. Continue reading “308 Francisco Pacheco’s son-in-law makes good”
Vol. IV of A corpus of Rembrandt paintings is the first for which Ernst van de Wetering is fully responsible. The uneasy relationship of the new volume to vols. I-III is examined critically.
Published in HNA News and Review of Books, November 2006, pp. 28-31, without illustration. Available online, though only for members of HNA (Historians of Netherlandish Art – if you are not a member – join!). Published previously in German in the Frankfurter Allgemeine Zeitung, 3 May 2006, which can be downloaded for one euro at https://fazarchiv.faz.net/.
Download pdf (300 kB)
Although the discussion is still somewhat one-sided, Schwartz continues his attempt to correct certain misapprehensions on the part of his colleagues concerning the nature and extent of Rembrandt’s work as a draftsman. Here he compares the promise of the recent Getty exhibition with the compromise it delivers. Continue reading “303 The transparent connoisseur 2: More Rembrandt core”
Prevailing opinion has it that Rembrandt drew far fewer drawings than the 1500 in the standard catalogue of Otto Benesch, and that he almost never used drawings to prepare his compositions. Schwartz posits the opposite: that Rembrandt drew far more than 1500 drawings and that it was his normal practice to use drawings – most of them now lost – in the preparation of his etchings and paintings. Continue reading “302 Did Rembrandt really not use drawings for his paintings and etchings?”
13 drawings, related to
For an explanation of the nature of this list, see Schwartzlist 301
Continue reading “301 9 Core list of Rembrandt drawings: