The opposition between the parched land in Bosch’s Haywain and the unquenchable thirst of its inhabitants for dry hay is contrasted to the mouthwatering abundance of the aqueous Garden of Delights. Schwartz suggests that this supports his interpretation of the Garden as a fulfillment of God’s command to the first man and woman. Continue reading “346 Bosch’s dry Haywain and his sopping wet Garden of Delights”
Jheronimus Bosch painted a man having a flower removed from his head, with an inscription speaking of a stone being cut out. Schwartz cannot explain why, but he nonetheless proposes a new theory of what is going on in the painting. He sees more empathy in it than scorn. Continue reading “343 A medical opinion from Jheronimus Bosch”
Key features of the art of Jheronimus Bosch are illuminated by a book published in the Netherlands in the artist’s early years. Raymond Sebond’s Natural theology, or Book of the creatures, can help us understand what God was doing with a book at the creation and why the Garden of earthly delights looks so unnatural. Continue reading “340 Jheronimus Bosch and the Book of Nature”
Rembrandt’s last dated drawing and the painting that was on his easel when he died both depict the same subject – Simeon with the Christ child in the Temple – in much the same way. In honor of the memorable exhibition Late Rembrandt Schwartz publishes some thoughts on these exceptional works.
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”
A painting by Jan Steen of a wedding night disturbed by a demon and saved by an archangel was cut in two in the distant past and put back together again in 1996. Ownership of the larger, more attractive part has now been awarded to the heirs of a Dutch Jewish art dealer to whom it belonged in 1940. What is going to happen now? Ending with an appeal to Marei von Saher.
One in so many Western works of art contains an image of a person we would call black. The phenomenon attracts relatively little attention in art history. The Menil Foundation went after it seriously, in a project now inherited by the Warburg Institute. An exhibition in the Nieuwe Kerk in Amsterdam offers a sanitized view of the black in Dutch and Flemish art.
An Australian-Dutch art historian who lives on Malta has produced a classic edition of one of the great cultural monuments of the island. Dane Munro’s book on the tombstone inscriptions of the Hospitaller knights of St. John is a book that transports you into another world – no, two other worlds.
Two independent Dutch art historians, Michiel Roscam Abbing and Roelof van Straten, have made optimal use of the Rembrandt year to bring out some basic books on the artist as well as more popular writings. A tribute.
A friend of Rembrandt’s wrote four poems on The hundred-guilder print. Only two of them, sweet thoughts on the goodness of Christ, are cited in the literature. The third one, a concise statement of classical Christian anti-Judaism, has been repressed in the Rembrandt literature. Schwartz insists that we acknowledge that Rembrandt shared the same attitudes toward the Jews of all his contemporaries and that he was not sympathetic to Judaism. Continue reading “252 The third poem”