In 1622 Jacques Callot published a suite of 25 etchings of beggars that established a more humane image of the vagabond than had been current until then. The title print of Callot’s series is a lanky, insolent figure with a banner reading Capitano de Baroni. Schwartz hypothesizes that in Dutch eyes he would have been seen as a caricature of the “beggar” – the Dutch rebel – who was captain of the Barony of Breda. This was Justinus van Nassau, whom Callot was later to etch, and Velazquez to paint, as the vanquished commander of Breda. Continue reading “222 The captain of the Barony”
219 Rembrandt as eyewitness
The papers are full of long stories on a short letter in the New England Journal of Medicine. The authors, Harvard neurobiologists, claim that his self-portraits contain certain evidence that Rembrandt was wall-eyed and that this had consequences for his artistry. Schwartz begs to differ. The scientists simply ignore a mass of material in which no such aberration is visible, and they fail to notice that similar effects as they observe in Rembrandt portraits can also be seen in self-portaits by others. Continue reading “219 Rembrandt as eyewitness”
152 Rehabilitating Rembrandt
A confidently negative judgment of the original Rembrandt Research Project concerning a painting in Kassel has been reversed by the new leader of the Project. However, the arguments advanced by the Project have not been answered.