Genres

418 Naaman the leper and Elisha his healer: the trailer (in memory of Magdi Tóth)

On 1 July I will be lecturing (in Dutch) at the Hermitage Museum Amsterdam on a painting from the current exhibition, Rembrandt and his contemporaries: History paintings from The Leiden Collection. The painting is a depiction of the prophet Elisha declining to accept the gifts of the Syrian army commander Naaman, offered in thanks for curing his leprosy. Here is a preview, the part about leprosy. Seating still available.

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417 The transparent connoisseur 7: Explaining away Early Netherlandish discrepancies

On Monday, 8 May, in Berlin, Schwartz heard a top connoisseur account for differences in finish between two paintings by Hugo van der Goes as acceptable variations within a single artistic personality, and on 12 May, in Den Bosch, heard another top connoisseur denying the very possibility of such a thing concerning two paintings by Jheronimus Bosch. What a week!

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411 Vermeeren of verminderen: in memory of Albert Blankert

Translation: Increase or decrease [the number of paintings by Vermeer, whose name is baked into the Dutch word for increasing.] My oldest and dearest friend in the Netherlands, Albert Blankert, died last Tuesday. I am channeling and seconding his inspired take on a current Vermeer dispute.

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408 The iconophile Sephardi in me

Do you feel kin to people who lived in your house in the past? Schwartz indulges in the exercise, finding out that he is the successor to members of an intertwined Sephardi clan of jewelers and merchants in diamonds and pearls, members of which were Rembrandt’s next-door neighbors, while another commissioned a staggering Antwerp painting he has studied.

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Love in the kunstkamer: additions to the work of Guillam van Haecht (1593-1637)

An exploration of the riches of beauty and meaning invested in and taken from art by Guillam van Haecht and his patron Cornelis van der Geest. Published in the Dutch art magazine Tableau, the summer issue of 1996, pp. 43-52.

LoveInTheKunstkamerTableauSummer1996

405 Early Vermeer body fluids

Did Vermeer’s Kitchen maid, an icon of Dutchness, have an older, Italian sister? Schwartz finds her resemblance to an earlier, unjustifiedly doubted, Vermeer copy after an Italian painting of a saint so convincing that he sticks his neck out to argue that she does.

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401 My ten favorite Rembrandt self-portraits

Earlier this year, the Dutch daily NRC Handelsblad asked me for an interview in which I would reveal, in order from 10 to 1, what my favorite ten Rembrandt self-portraits are. Instead of talking to the editor, Arjen Ribbens, I wrote up my preferences in an illustrated column, in English. I put them in chronological order, but that worked out all right, because my number 1 was indeed the latest. Ribbens translated a pared-down version, made it look more like an interview and published it in the issue of 6 November 2021. For the Schwartzlist, here is the English original.

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397 Gabriel Metsu’s Sick child – of state?

Gabriel Metsu’s Sick child in the Rijksmuseum is the poster boy of domesticism in Dutch art. What could be more touching? Schwartz thinks it was also meant to move the viewer in other ways than as an image of maternal care. He thinks he can identify the pathetic little boy as a personification of a high office leading an ailing existence. Continue reading “397 Gabriel Metsu’s Sick child – of state?”

“The years have imposed heavy tribulations”: Rembrandt’s portrait of Johannes Wtenbogaert

Working in 2021 on a book about a disputed Rembrandt self-portrait, I wished to refer to the article below, from July 1992, for its comments on the Rembrandt Research Project. The English text had not been published before. If I am not mistaken, this article has never been referred to in subsequent literature on the painting.

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393 The transparent connoisseur 6: Johnny One Work

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.
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