![]() SPQA: Rome in seventeenth-century Amsterdam (Tübingen, University)Īrt within art: Kunstkamer painting and its meanings (Cambridge, Harvard University Rome, American Academy Los Angeles, J. The relationship between art and emotion (Adelaide, Biennial Research Meeting of Australian Research Council Centre of Excellence for the History of Emotions)ĭutch painting in European context (Florence, European University Institute and elsewhere) Love of art / love in art (Melbourne, ARC Centre of Excellence for the History of Emotions) Paul Getty Museum)Įmotion in Dutch painting of the Golden Age (Haarlem, Frans Hals Museum Berlin, Renaissance Society of America and elsewhere) I, Pieter Saenredam (San Antonio, Texas, Trinity University Los Angeles, J. Rembrandt’s patrons among the clans and cliques of Holland (London, University College Princeton, Princeton University and elsewhere) The Rembrandt Research Project and the question of authorship (Zürich, Swiss Institute for Art Research and elsewhere) The painter nearly poet: Rembrandt and Dutch literary life (London, University College and elsewhere) Rembrandt research after the age of connoisseurship (Rotterdam, Erasmus University and elsewhere) Rembrandt and non-Rembrandt in art history (Paris, Louvre) Rembrandt’s Hebrews (Berlin, Rembrandt symposium 2006) What else can you say about Rembrandt? (New York University, Institute of Fine Arts) Reintroducing Rembrandt (more than twenty venues, during the Rembrandt year 2006) Rembrandt’s last painting (Paris, Louvre Los Angeles, UCLA) Jheronimus Bosch: the road to heaven and hell (Dutch bookshop tour) Visions and dreams, illusions and hallucinations in the work of Jheronimus Bosch (Hamburg, Bucerius Forum Münster, LWL Museum für Kunst und Kultur) The titles of some lectures, with venues: He has addressed professional audiences in the fields of copyright law, research libraries, book history and publishing.Īnd with verve he has held popular talks at medical and legal congresses, management training seminars, art dealers’ exhibitions, theatre shows, movie screenings, bankers’ conventions, cultural clubs, Rotary meetings and private parties. To museum and academic audiences he has spoken, mainly on Rembrandt, in the above countries as well as Hungary, the Czech Republic, Georgia, Romania, Greece, Sweden, Belgium, Spain, South Korea, Vietnam, Iran, Oman, Malta, Turkey and Israel. He has delivered papers on specialized subjects in Dutch and Flemish art at scholarly conferences in the Netherlands, Great Britain, Germany, Austria, France, Switzerland, Russia, the United States, Canada and Australia. Over the past thirty years, Gary Schwartz has lectured widely on diverse art-historical subjects to audiences of all kinds.
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