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Henry Walters and Bernard Berenson
Collecting Italian Renaissance paintings during America’s Gilded Age was fraught with risk because of the uncertain identities of the artists and the conflicting interests of the dealers. Stanley Mazaroff’s fascinating account of the close relationship between Henry Walters, founder of the legendary Walters Art Museum in Baltimore, and Bernard Berenson, the era’s preeminent connoisseur of Italian paintings, richly illustrates this important chapter of America’s cultural history. When Walters opened his Italianate museum in 1909, it was labeled as America’s “Great Temple of Art.” With more than 500 Italian paintings, including self-portraits purportedly by Raphael and Michelange...
Bernard Berenson
"Few would have predicted that Bernard Berenson, from a poor Lithuanian Jewish immigrant family, would rise above poverty. Yet Berenson left his crowded home near Boston's railyards and transformed himself into the world's most renowned expert on Italian Renaissance paintings, the owner of a beautiful villa and an immense private library in the hills outside Florence. The explosion of the Gilded Age art market and Berenson's work for dealer Joseph Duveen supported a luxurious life, but it came with painful costs: Berenson hid his origins and, though his attributions remain foundational, felt that he had betrayed his gifts as a critic and interpreter of paintings. This finely drawn portrait o...
Italian Forgers
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era. Carol Helstosky examines foreign accounts of transactions and Italian writin...
Money in the Air
This volume explores the crucial role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries. “There was money in the air, ever so much money,” wrote Henry James in 1907, reflecting on the American appetite for art acquisitions. Indeed, collectors such as Henry Clay Frick and Andrew W. Mellon are credited with bringing noteworthy European art to the United States, with their collections forming the backbone of major American museums today. But what of the dealers, who possessed the expertise in art and recognized the potential of developing a new market model on both sides of the Atlantic? Money in the Air investigates the often-overloo...
A Paris Life, A Baltimore Treasure
Cover -- Half Title -- Title -- Copyright -- Contents -- List of Illustrations -- Acknowledgments -- Prologue -- CHAPTER ONE: The Cultivation of Lucas -- CHAPTER TWO: The Wandering Road to Paris -- CHAPTER THREE: Lucas and Paris in a Time of Transition -- CHAPTER FOUR: Lucas and Whistler -- CHAPTER FIVE: The Links to Lucas -- CHAPTER SIX: From Ecouen to Barbizon -- CHAPTER SEVEN: M, Eugène, and Maud -- CHAPTER EIGHT: When Money Is No Object -- CHAPTER NINE: The Lucas Collection -- CHAPTER TEN: The Final Years -- CHAPTER ELEVEN: The Terms of Lucas's Will -- CHAPTER TWELVE: A Collection in Search of a Home -- CHAPTER THIRTEEN: The Shot across the Bow -- CHAPTER FOURTEEN: The Glorification of Lucas -- CHAPTER FIFTEEN: In Judge Kaplan's Court -- CHAPTER SIXTEEN: Lucas Saved -- Postscript -- Appendix -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Z
