Rembrandt (4)
Rembrandt – Somber
Tuesday, May 12, 2020
Today three different messages of death reached me. A colleague’s father has died, from a long illness, not the coronavirus. It is very complicated for the son to go; he will have to quarantine away from his family on his return. At noon, I gave a virtual reading with another colleague, who lives on a block one block away from me. Both of us read about memorialization. After the reading, my colleague said that five households on his block - I can see the backs [...] more
Sophie Calle and Rembrandt at the Gardner
Frederick Project: Missing
Wednesday, April 1, 2020
Yesterday I wrote about a Rembrandt self-portrait that is still to be seen at the Isabella Stewart Gardner Museum. Today, thinking of recent news of a painting stolen from a coronavirus closed museum, I want to write about a Rembrandt self-portrait that isn't still to be seen at the Gardner. Seven years ago, there was a Sophie Calle installation at the Isabella Stewart Gardner Museum. It was a reconfiguration of an earlier project, done in 1990, immediately after the theft of thirteen important works from the Gardner’s collection. In [...] more
Rembrandt in Gray at the Gardner
Frederick Project: Stolen
Tuesday, March 31, 2020
I wish I could say that I knew this painting well, but the truth is that I walked by it a few times when we lived in Boston. I went to the Isabella Stewart Gardner Museum fairly often, because I was writing a book about Bernard Berenson, who was one of her most important advisors in building the collection. But Berenson was focused on Italian paintings, and when I went to the museum I spent a lot of my time in the Italian rooms. On most visits, I never even went around [...] more
Acquisition and Time
Sunday, January 26, 2014
Working on a talk to be given at the Isabella Stewart Gardner Museum – about the collection of Italian pictures that Gardner acquired with significant help from Bernard Berenson – has been the occasion for thinking again about the collector’s passion. When one stands in a gallery in front of a picture one is not only affected by the passions of the painter, or made aware of the forces of history, one is directly confronted with provenance, namely, by what combination of human passions did this object come to be here ?
Isabella Gardner’s letters to Berenson [...] more