348 Today in Delft 340 years ago

On the 30th of September 1676 the Delft courts appointed Anthoni van Leeuwenhoek as curator to the insolvent estate of Catharina Bolnes, the widow of Johannes Vermeer. So great is the power of those two names that generations of art historians have interpreted the document as a sign of profound bonding between art and science. Schwartz, in the footsteps of Michael Montias, reveals the disenchanting truth.

Continue reading “348 Today in Delft 340 years ago”

347 How a patrician made good for slighting a prince, maybe

In the splendid Antwerp specialty of kunstkamer painting, one painting and one alone migrated from one environment to another, from the patrician collection of Cornelis van der Geest to the fabled one of the archdukes of the southern Netherlands. Schwartz has an idea why.

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346 Bosch’s dry Haywain and his sopping wet Garden of Delights

The opposition between the parched land in Bosch’s Haywain and the unquenchable thirst of its inhabitants for dry hay is contrasted to the mouthwatering abundance of the aqueous Garden of Delights. Schwartz suggests that this supports his interpretation of the Garden as a fulfillment of God’s command to the first man and woman. Continue reading “346 Bosch’s dry Haywain and his sopping wet Garden of Delights”

345 The transparent connoisseur 4: a Berenson scorecard

A magnificent new catalogue has been published on the Bernard and Mary Berenson collection at I Tatti. Schwartz uses it to test the sustainability of the Berensons’ attributions of paintings for which they put down cash on the barrelhead. The results are disenchanting. Only one of eighty-seven relevant entries is an original Berenson attribution that is still accepted. Continue reading “345 The transparent connoisseur 4: a Berenson scorecard”

344 Some Rothschild Rembrandts, seen and unseen

The deal is done. The Louvre and Rijksmuseum have come into shared ownership of Rembrandt’s earliest full-length, life-size portraits. Buyers and sellers proclaim piously that they were driven by angst that these cultural treasures might disappear to Arabia or China. Schwartz tests that proposition and finds it wanting. Continue reading “344 Some Rothschild Rembrandts, seen and unseen”

343 A medical opinion from Jheronimus Bosch

Jheronimus Bosch painted a man having a flower removed from his head, with an inscription speaking of a stone being cut out. Schwartz cannot explain why, but he nonetheless proposes a new theory of what is going on in the painting. He sees more empathy in it than scorn.


Jacket design by Bregt Balk. Continue reading “343 A medical opinion from Jheronimus Bosch”