![]() During this time-and much like the scholar/publisher Walter L. Schwartz heeded van Gelder's call in a sense he developed the thesis that Rembrandt's art was related in important ways to the interests and biographies of his immediate patrons (Snyder/Schwartz). This was largely ignored in the art history community, except for Schwartz. Van Gelder made a plea to Rembrandt scholars in general in 1970 for a more scholarly reconstruction of Rembrandt's patrons. The RRP's thrust was largely connoisseurship, to determine an accurate number of authentic Rembrandts. In 1969, the Rembrandt Research Project was founded at the 300th anniversary of Rembrandt's death (1669). Schwartz translated the summary of Emmens' book Rembrandt en de regels van de kunst into English. Emmens was interested in the intellectual judgments that went into the prevailing opinions of an artistic age (Brenson). Schwartz had early on met another art historian, J. Schwartz assisted Horst Gerson in completing Rembrandt Gemälde (Rembrandt Paintings) which Schwartz edited in 1968. He joined the staff of the publishing firm Meulenhoff International, Amsterdam, as an editor in 1967. Schwartz joined the nascent and highly respected journal Simiolus in 1966 as its English-language editor. Schwartz worked as van Gelder's English-language assistant between 1966-1967 at the Centrum voor Voortgezet Kunsthistorisch Onderzoek over which van Gelder presided. van Gelder at Utrecht University whose social-history approach to art appealed to him. D., Schwartz mentored informally under J. In 1966, he began working free-lance translating Dutch and German texts and publishing them. Schwartz immediately acclimated to the Netherlands-falling in love with one of its inhabitants, Loekie Hendriks. He worked as a researcher for the Bollingen book series. securing a Kress fellowship to study the subject of globes in Dutch still-life painting in the Netherlands. In 1965, Schwartz completed his coursework for his Ph.D. He continued to graduate school at Johns Hopkins, studying medieval art history under Adolf Katzenellenbogen, the department's chair. At age 16 he entered New York University as a freshman, where a course in art history by Horst Woldemar Janson his first year sparked an interest in the subject. He attended Hebrew grammar and high schools. Schwartz himself grew up in East New York, Brooklyn, and Far Rockaway, Queens. Schwartz's mother was a Hungarian immigrant and his father, of Polish heritage, worked in and later owned the family sweater factory. Revisionist, documents-approach scholar to Rembrandt American art historian who lives and works in the Netherlands.
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