A yeshiva boy’s food memories, topped by Mrs. Hrzka’s potluck kitchen on West 181st Street. Continue reading “333 Food guide to Washington Heights in 1953”
On the painting of an Apocalypse that has already come and will never be really gone, by the Dutch Nazi artist Henri van de Velde.
“Oude en nieuwe wonden,” Het Financieele Dagblad, 31 January 2004, p. 25
As a reader of Hebrew, Schwartz has long been intrigued by the occurrence of lettering in that language in works of art. He examines a sample of works from the 15th century, now on view in Bruges, to find out how much Hebrew they contain and whether it means anything, either as text or as a symptom of Jewish-Christian relations. His conclusion: it means neither. Continue reading “309 Pseudo-Semitism”
To test the extent to which Iraq would have become a model Middle Eastern democracy by the year 2005, well into the era of neocon nirvana, in 2003 Schwartz and his artist buddy Joseph Semah plan to stage a Purim Play in Baghdad in March 2005. Happy holiday. Continue reading “288 A missed appointment in Baghdad”
On the road, especially in faraway places, Schwartz is known to succumb to an upwelling of Jewish sentiment that he never acts on at home. In Isfahan, he attended Friday-night services in the synagogue of a 2,500-year-old community and got a powerful dose of tribal feeling. Continue reading “282 Reading the prayer book in Isfahan”
The historical museums of Europe ignore minorities and therefore lend implicit support to xenophobic national self-images. The rise of high-quality Jewish museums serves as an excuse for historical museums to eliminate the Jewish dimension of European history from their displays. A campaign to redress the balance is called for. Continue reading “276 Non-Jewish museums”
The idea that Rembrandt was sympathetic to Jews and Judaism is so generally accepted that it is seldom questioned critically. One of the pillars of this supposition is the identification of many portrait sitters and models as Jews. Hardly any of these can however stand up to scrutiny.
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”