A centennial moment in Schwartz’s art-historical life. One hundred years ago today a Rembrandt self-portrait was stolen from the museum in Weimar. He is writing a book on the painting. A snippet from its fascinating story. Plus a complete lecture and q&a on the exhibition Rembrandt’s orient. Continue reading “394 The Rembrandt theft of a hundred years ago today”
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.
Continue reading “393 The transparent connoisseur 6: Johnny One Work”
On the 26th of February 1981 three events took place that laid the basis for the recognition of Charlotte Salomon (1917-1943) as the creator of one of the great works of art of the twentieth century. An exhibition of her work opened in the Jewish Historical Museum in Amsterdam; the film “Charlotte,” directed by Frans Weisz with a scenario by him and Judith Herzberg, had its première; and the first complete edition of her monumental work Life? or Theater? was published. Schwartz was the publisher of the book. He looks back with a sense of achievement, unfortunately blighted by recent events.
Nexus is a remarkable institution, based first in Tilburg University and since 2017 the VU University in Amsterdam, while claiming to fulfill a function that universities have largely forsaken. That function is the preservation and promulgation of high European culture. Nexus publishes a journal and holds conferences at which leading intellectuals speak and exchange opinions. Schwartz reflects on the conference of 1999. Continue reading “89: Cosmopolitans and other border-crossers”
During the so-called holidays, Schwartz carried out a very long overdue and immensely satisfying rearrangement of the books in the room he works in. Passing through his hands once more were a favorite collecting genre: over-the-top books on Rembrandt. He comments on four of them. Below the column is an invitation to join a Rembrandt webinar in which Schwartz is participating on 19 January.
Rembrandt suffered from a rare condition that has not yet been diagnosed. He had an aversion to spires and sometimes to towers, lopping them off his depictions of buildings we know to have had them. Schwartz worries the issue.
A guest column by Loekie Schwartz. The calm central figure in the Primavera is framed by a bower with the shape of the cupola of Florence Cathedral, Santa Maria del Fiore. The visual rhyme is intended to convey that she partakes both in the floral association of the name and its Marian essence. A further link between painting and cathedral is to be found in a writing by Alberti, where the Duomo is called a springtime refuge from the vicissitudes of the world outside. Please copy to students of Italian art and literature. Continue reading “389 Botticelli’s Primavera as an image of Santa Maria del Fiore”
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.
Professional astronomers, ornithologists, entomologists and other scientists have a symbiotic relationship with amateurs, who do the boring fieldwork for which they have no time. Schwartz was able, as a publisher, to foster a bond of that kind in the study of Dutch still-life painters.
A new friend I have yet to meet, Luca Del Baldo, has done something so far out of the ordinary that I am stunned in amazement. Singlehandedly, with unimaginable dedication and tenacity, he has called into being a 98-person community of people who write about art, painting portraits of each and getting them to put down on paper thoughts on portraiture. Here is Schwartz’s contribution, followed by two recently published articles to be downloaded or requested.