The Barberini and Orange inventories: a comparison of the collections and their publication

During the same years in the middle of the first half of the seventeenth century, important collections of paintings were amassed by the stadholder of the United Provinces of the Netherlands, Frederik Hendrik, prince of Orange (1584-1647), and Cardinal Francesco Barberini (1597-1679), the nephew of Maffeo Barberini, Pope Urban VIII. The inventories of their collections were drawn up in 1632 and 1625, respectively, offering a good basis for comparison. The article deals not only with the collections, the inventories and their publication in the twentieth century, but also with the structure of the patronage networks deployed by pope and stadholder.

The article was published in honor of Marilyn Lavin, in a festschrift offered by her friends.

Medieval, Renaissance, Baroque: a cat’s cradle for Marilyn Aronberg Lavin, ed. David A. Levine and Jack Freiberg, New York (Italica Press) 2010, pp. 167-178.

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A corpus of Rembrandt paintings as a test case for connoisseurship

From the proceedings of a congress held at the Ecole du Louvre on 21-23 October 2011Couv Connoisseurship

Connoisseurship: l’oeil, la raison et l’instrument, ed. Patrick Michel, Paris (Ecole du Louvre) 2014, pp. 229-37.

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The Rembrandt Research Project had everything going for it when it set out in 1968 to examine the authorship of all the paintings seriously attributed to the master. However, by 1991, after publishing three massive volumes covering half of Rembrandt’s career,  it ran out of steam and four of the five members quit the project. The remaining member, Ernst van de Wetering, took it over, admitting that vols. 1-3 were a failure. Schwartz asks why and suggests that the fault lay less with the members of the project than with the impossible pretensions of connoisseurship itself.

The clones make the master: Rembrandt in 1650

Gary Schwartz, “The clones make the master: Rembrandt in 1650,” in: Horizonte: Beiträge zu Kunst und Kunstwissenschaft | Horizons: essais sur l’art et sur son histoire | orizzonti: saggi sull’arte e sulla storia dell’arte |  Horizons: essays on art and art research, Zürich (Schweizerisches Institut für Kunstwissenschaft) and Ostfildern-Ruit, Germany (Hatje Cantz) 2001, pp. 53-64

Horizonte is a volume of studies published to mark the 50th anniversary of the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research). The article deals with unacknowledged ambiguities in our understanding of Rembrandt.

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Rembrandt Harmensz. van Rijn, Simeon with the Christ child in his arms, with Mary and Joseph

“Rembrandt Harmensz. van Rijn, Simeon with the Christ child in his arms, with Mary and Joseph,” In arte venustas: studies on drawings in honour of Teréz Gerszi, presented on her eightieth birthday, Budapest (Szépmüvészeti Múzeum) 2007, pp. 170-72

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