Author: Walters Art Gallery (Baltimore, Md.)Publisher: Walters Art Gallery
ISBN:
Category : Art
Languages : en
Pages : 210
Book Description
The Nineteenth Century Paintings in the Walters Art Gallery
Author: Walters Art Gallery (Baltimore, Md.)Publisher: Walters Art Gallery
ISBN:
Category : Art
Languages : en
Pages : 210
Book Description
Selection of Nineteenth Century Paintings in the Walters Art Gallery
Author: Walters Art GalleryPublisher:
ISBN: 9780911886191
Category :
Languages : en
Pages :
Book Description
William and Henry Walters, the Reticent Collectors
Author: William R. JohnstonPublisher: JHU Press
ISBN: 9780801860409
Category : Antiques & Collectibles
Languages : en
Pages : 352
Book Description
Surprisingly, the story of how William Walters and his son Henry created one of the finest privately assembled museums in the United States has not been told."--BOOK JACKET.
Nineteenth-century Paintings
Author: Walters Art Gallery (Baltimore, Md.)Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Nineteenth-century Art
Author: Walters Art Gallery (Baltimore, Md.)Publisher:
ISBN:
Category : Art
Languages : en
Pages : 168
Book Description
A Selection of Nineteenth-century Paintings
Author: Walters Art Gallery (Baltimore, Md.)Publisher:
ISBN: 9780911886191
Category : Painting
Languages : en
Pages : 35
Book Description
Revealing the African Presence in Renaissance Europe
Author: Natalie Zemon DavisPublisher: Walters Art Gallery
ISBN: 9780911886788
Category : Africans in art
Languages : en
Pages : 143
Book Description
"This publication accompanies the exhibition Revealing the African Presence in Renaissance Europe, held at the Walters Art Museum from October 14, 2012, to January 21, 2013, and at the Princeton University Art Museum from February 16 to June 9, 2013."
A Selection of Nineteenth-Century Paintings
Author: A Paris Life, A Baltimore Treasure
Author: Stanley MazaroffPublisher: JHU Press
ISBN: 1421424444
Category : Architecture
Languages : en
Pages : 342
Book Description
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
Henry Walters and Bernard Berenson
Author: Stanley MazaroffPublisher: JHU Press
ISBN: 1421440466
Category : Art
Languages : en
Pages : 247
Book Description
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.