In the night of 9/10 April 1921 a Rembrandt self-portrait was stolen from the museum in Weimar, Germany, with three other paintings. Three of the four resurfaced on 3 August 1945 in Dayton, when an Ohio woman married to a German-American immigrant brought them to the director of the Dayton Art Institute. This did not become known to the public until 10 February 1947, after the paintings had been removed from the ownership of the couple. The documentation stunned Schwartz and will stun you!
A pretty critical review of Svetlana Alpers’s book Rembrandt’s enterprise: the studio and the market, Chicago (University of Chicago Press) 1988, published in Art in America 76, nr. 11 (November 1988), pp. 25-29
Research on one topic (Vermeer exhibitions) put Schwartz on the track of another (historical Rembrandt numbers). This year is the 100th anniversary of the publication, in 1923, of the most extreme highs and lows known to man for the count of paintings by Rembrandt. (Click on images to enlarge them.)
“‘Though deficient in beauty’: a documentary history and interpretation of Rembrandt’s 1654 painting of Bathsheba,” in: Rembrandt’s Bathsheba reading King David’s letter, ed. Ann Jensen Adams, Cambridge, England (Cambridge University Press) 1998, pp. 176-203
For a volume on Rembrandt’s Bathsheba in the Cambridge University Press series Masterpieces of Western painting, edited by Ann Adams, I contributed an essay on the provenance and critical history of the painting, ending with an interpretation of my own.
Pondering an old, bitter debate, Schwartz puts together some previously unconnected pieces. In one year, 1654, Rembrandt painted two bathing women who make you think of sex, both of whom have been linked to models in classical antiquity. Leading to a daring conclusion.
The exhibition at the Jewish Museum and Tolerance Center in Moscow on which I have been working for five years with Mirjam Knotter of the Jewish Museum in Amsterdam. “Rembrandt seen through Jewish eyes,” has been postponed indefinitely. Still, I have to submit text for the Russian-language catalogue that was going to be printed. Here are fragments from the section “Jewish artists discover Rembrandt.”
Never would I ask you to pity the poor Rembrandt specialist. I regret not a moment of the years I have put into studying him. But besides the outreach of my publications and lectures, there is also inreach, which can be challenging. Read about the biggest painting I have ever been called upon to certify as a Rembrandt.
Rembrandt Seen Through Jewish Eyes: The Web Conference
Schwartz weighs in on the discussion of the iconography of the splendid Rembrandt Standard bearer now bought by the Rijksmuseum and comments sourly on its price.
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.