Saenredam, Huygens and the Utrecht bull

Relates a poem by Constantijn Huygens on the Mariakerk in Utrecht, to an interior of the church by Pieter Saenredam showing the relief of a bull dancing on waves referred to in the poem, a painting that comes from Huygens’s house in The Hague. Religious, historical and architectural issues are heavily involved in the poem and the painting. As far as the author is aware, this is the first publication dealing with Dutch church painting in other than formal and antiquarian terms.

Gary Schwartz, “Saenredam, Huygens and the Utrecht bull,” Simiolus: Kunsthistorisch Tijdschrift 1 (1966-67), pp. 69-93

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Also available as an original offprint from the author: Gary.Schwartz@xs4all.nl.

334 Dutch Franks in Safavid Persia

The Safavid shahs of Persia entertained a real interest in European art, at a period when Europeans had nothing but disdain for the art of Persia. Schwartz publishes on the subject once again.


Continue reading “334 Dutch Franks in Safavid Persia”

Safavid favour and Company scorn: the fortunes of Dutch painters to the shah

The article by Gary Schwartz with the above title is to be found on pp. 132-152, in English and Farsi, in

Iran and the Netherlands: interwoven through the ages, edited by Martine Gosselink and Dirk J. Tang, Gronsveld and Rotterdam (Barjesteh van Waalwijk van Doorn & Co’s Uitgeversmaatschappij) 2009

Open pdf at 2009IranAndTheNetherlandsInterwovenThroughTheAges (31 Mb)

329 King Willem’s wall

The Palace of the Academy in Brussels has a secret that was revealed in a magical moment to Schwartz in June 2006. It concerns the greatest princely collection of paintings ever assembled in the Netherlands. In anticipation of an exhibition devoted to that collection, Schwartz now discloses all. Below the line he appeals for a celebration of the centenary of Kazimir Malevich’s abolition of reason. Continue reading “329 King Willem’s wall”

111 An inglorious anniversary

The finest private art collection ever assembled in the Netherlands stands to the credit of King Willem II, in the mid-19th century. How it was lost to the country is a story of monumental insensitivity and shortsightedness as well as sheer philistinism. Followed by an account of a mini-excursion in the Rhineland, undertaken to substitute for a real vacation in Burgundy. (August 2000) Continue reading “111 An inglorious anniversary”

“J. van Beecq, Amsterdam marine painter, ‘the only one here [in France] who excels in this genre’”

From the proceedings of a symposium held at the university of Lille in 2008.

“J. van Beecq, Amsterdam marine painter, ‘the only one here [in France] who excels in this genre,’” in Les échanges artistiques entre les anciens Pay-Bas et la France, 1482-1814, ed. Gaëtane Maës and Jan Blanc, Turnhout (Brepols) 2010, pp. 15-32

Open pdf at 2010LilleSchwartzEchanges (59Mb)

A reconstruction of the career of a Dutch painter who is known only for work in England and France. An accomplished follower of Willem van de Velde the Younger, van Beecq started off on a highly promising career in France, but failed to establish there anything like the position of van de Velde in England and the Netherlands. The problem seems to have lain in deficient patronage, even though van Beecq had good connections and much to offer as an artistic adjunct to the French import of Dutch shipbuilders for its naval fleet.

322 Sheer excellence

Attempting to pay tribute to the supreme Frits Lugt and his Fondation Custodia and to protest the announced closing of the Institut Néerlandais with which it is joined, Schwartz sets out to describe one example of Lugt’s collecting genius and gets caught up in the subject. Read about two related drawings and a print by and after Constantijn van Renesse, the only Dutch artist of the 17th century from Schwartz’s adopted village of Maarssen. Continue reading “322 Sheer excellence”

Jan van der Heyden and the Huydecopers of Maarsseveen

Gary Schwartz, “Jan van der Heyden and the Huydecopers of Maarsseveen,” The J. Paul Getty Museum Journal 11 (1983), pp. 197-220

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The painting that is the subject of the article was de-accessioned by the Getty Museum and sold at auction in New York (Sotheby’s) on 25 January 2007. It was bought by Baron Willem van Dedem, a distinguished collector of Dutch and Flemish paintings. (Baron van Dedem died in November 2015.)