The print room of the Rijksmuseum mounted magnificent exhibitions on two very different Dutch landscape artists, the portrayer of Brazil Frans Post and the traveler in his own imagination Hercules Segers. The juxtaposition brings Schwartz to compare them; he finds out that they both came to the same sorry end. Continue reading “349 The difference between Frans Post and Hercules Segers”
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”
The Van Gogh Museum did not take kindly to my column of January 19th (“The saga of Bouwe Jans”). The museum feels that I criticized it unfairly for the way it handled a request for an expert opinion on the authorship of a possible van Gogh painting. I promised the museum, by way of response, to elaborate on the recommendations in my piece. I do this in print because my remarks were not intended only for the Van Gogh Museum – which I am sure behaved in all good faith in this matter – but for any body, museum or not, that proffers expert opinions on sensitive subjects to the public. Continue reading “154 The transparent connoisseur 1”
The Van Gogh Museum has the good fortune of having acquired a tenacious, articulate, unforgiving critic with enough right on his side to teach it a valuable lesson. Whether the museum sees it that way I do not know; I‘m sure that I would not enjoy reading about myself the kind of things that the Dutch-English art dealer Bouwe Jans has published about the museum in his cantankerous book Artquakes and van Gogh. Yet the van Gogh Museum and other arbiters of authenticity do have much to learn from his report.