The current Vermeer exhibition in the Rijksmuseum is the second one ever to be held there. The first took place in 1935. For the 114 days that the present exhibition is running, the Rijksmuseum is admitting 450,000 visitors, about 4,000 a day. Some people, like me, find it too crowded. The 1935 exhibition was on view for only 13 days, and drew 123,000 visitors, about nine and a half thousand a day. Another reason to be glad that I hadn’t been born yet.
A sequence of fortunate circumstances put Schwartz and his Loekie into one artistically rich environment after another.Sheer non-committal enjoyment, giving birth to reactions he does not have to defend in the court of art-historical responsibility.
Schwartz thought that his love for art in museums was strong enough to assure his enjoyment of museums, even while acknowledging that they removed art from its original locations and contexts. Last month he took a shock to the system, in Venice. For Doeschka and Bernard.
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.”
Braving danger and discomfort, Schwartz once more treated himself to a visit to the foremost fair for old master art, TEFAF. He shares thoughts and impressions.
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.
Schwartz seems to have visited more museums during the covid lulls of 2020 than in comparable periods when everything was open and easily accessible. By creating rarity, the pandemic may have enhanced the value of museumgoing. Continue reading “395 Museum memories of 2020”
On 29 and 30 October 2020, the ceremonial openings were to have taken place of an exhibition in Kunstmuseum Basel of which I am guest curator: Rembrandt’s orient: west meets east in Dutch art of the seventeenth century. Because of the pandemic, no openings are being held. Today, I am pleased to say, 31 October, the exhibition is open to the public. Travel restrictions have kept me from being in on the hanging or seeing the exhibition at all for the time being. I can only hope that I can see it before it closes on 14 February 2021 and that by the time the exhibition moves on to Museum Barberini in Potsdam in March 2021 there will be an opening at which I can speak. The catalogue includes an essay of mine on Rembrandt. It had to be shortened, but I have permission from the museums to publish the complete version on the Schwartzlist. The essay is a review of oriental motifs in Rembrandt’s art, which tend to be conventional, and an argument concerning the nature of one group of works that is entirely unique.
To entice you into reading the essay, this column shows only the illustrations. To find out what I have to say about them, click here.
In giving Schwartzlist 385 the title “The Dutchness of English art,” I succumbed to the irresistible temptation to take on Nikolaus Pevsner’s classic “The Englishness of English art” and Christopher Brown’s “The Dutchness of Dutch art.” A number of readers felt that I thereby cut corners. The present column is a remake, with an unassailably clearcut definition of its scope and a properly modest title. Continue reading “386 Dutchness* in English art”
In the second half of the seventeenth century, Dutch artists swarmed all over Europe in search of earnings that were drying up at home. They virtually annexed the art scene of Great Britain, giving shape to much of what we think of as English culture. Schwartz’s view of British Baroque.