Henry Walters and Bernard Berenson: Collector and Connoisseur

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9780801895128: Henry Walters and Bernard Berenson: Collector and Connoisseur
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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 Michelangelo, Walters’s collection was compared favorably with the great collections in London, Paris, and Berlin. In the midst of this fanfare, Berenson contacted Walters and offered to analyze his collection, sell him additional paintings, and write a scholarly catalogue that would trumpet the collection on both sides of the Atlantic. What Berenson offered was what Walters desperately needed—a badge of scholarship that Berenson’s invaluable imprimatur would undoubtedly bring.

By 1912, Walters had become Berenson’s most active client, their business alliance wrapped in a warm and personal friendship. But this relationship soon became strained and was finally severed by a confluence of broken promises, inattention, deceit, and ethical conflict. To Walters’s chagrin, Berenson swept away the self-portraits allegedly by Raphael and Michelangelo and publicly scorned paintings that he was supposed to praise. Though painful to Walters, Berenson’s guidance ultimately led to a panoramic collection that beautifully told the great history of Italian Renaissance painting.

Based primarily on correspondence and other archival documents recently discovered at the Walters Art Museum and the Villa I Tatti in Florence, the intriguing story of Walters and Berenson offers unusual insight into the pleasures and perils of collecting Italian Renaissance paintings, the ethics in the marketplace, and the founding of American art museums.

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Recensione:

"A pointed account of the relationship between the famous connoisseur and the railroad magnate."

(Robert Messenger Wall Street Journal)

"Surprisingly, this is the only book ever to focus on just one of Berenson’s client relationships. For this and other reasons, every collector―especially the temple-building grandees at work today―should read Mazaroff ’s compelling investigation"

(Fine Art Connoisseur)

L'autore:

Recognized annually in Best Lawyers in America, Stanley Mazaroff retired from the active practice of law to study art history at the Johns Hopkins University. He is a member of the Board of Trustees of the Walters Art Museum.

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Editore: Johns Hopkins University Press (2010)
ISBN 10: 080189512X ISBN 13: 9780801895128
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Descrizione libro Johns Hopkins University Press, 2010. Condizione: NEW. Brand New!. Codice articolo 51WZZZ0009N1_ns

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Descrizione libro Johns Hopkins University Press, 2010. Condizione: New. A+ Customer service! Satisfaction Guaranteed! Book is in NEW condition. Codice articolo 080189512X-2-1

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Editore: Johns Hopkins University Press (2010)
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Descrizione libro Johns Hopkins University Press, 2010. Hardcover. Condizione: New. Condizione sovraccoperta: New. 1st Edition. No defects, book is New. . 8vo 8" - 9" tall. 248 pages. H5. Codice articolo 32672

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Descrizione libro JOHNS HOPKINS UNIVERSITY PRESS, United States, 2010. Hardback. Condizione: New. Language: English. Brand new Book. 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 Michelangelo, Walters's collection was compared favorably with the great collections in London, Paris, and Berlin. In the midst of this fanfare, Berenson contacted Walters and offered to analyze his collection, sell him additional paintings, and write a scholarly catalogue that would trumpet the collection on both sides of the Atlantic. What Berenson offered was what Walters desperately needed-a badge of scholarship that Berenson's invaluable imprimatur would undoubtedly bring.By 1912, Walters had become Berenson's most active client, their business alliance wrapped in a warm and personal friendship. But this relationship soon became strained and was finally severed by a confluence of broken promises, inattention, deceit, and ethical conflict. To Walters's chagrin, Berenson swept away the self-portraits allegedly by Raphael and Michelangelo and publicly scorned paintings that he was supposed to praise. Though painful to Walters, Berenson's guidance ultimately led to a panoramic collection that beautifully told the great history of Italian Renaissance painting. Based primarily on correspondence and other archival documents recently discovered at the Walters Art Museum and the Villa I Tatti in Florence, the intriguing story of Walters and Berenson offers unusual insight into the pleasures and perils of collecting Italian Renaissance paintings, the ethics in the marketplace, and the founding of American art museums. Codice articolo BZE9780801895128

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Editore: Johns Hopkins University Press (2010)
ISBN 10: 080189512X ISBN 13: 9780801895128
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Descrizione libro Johns Hopkins University Press, 2010. Condizione: New. Codice articolo 7692825-n

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Editore: Johns Hopkins University Press (2010)
ISBN 10: 080189512X ISBN 13: 9780801895128
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Descrizione libro Johns Hopkins University Press, 2010. Condizione: New. New. Codice articolo Q-080189512X

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