Henry Walters and Bernard Berenson : collector and connoisseur

著者

    • Mazaroff, Stanley

書誌事項

Henry Walters and Bernard Berenson : collector and connoisseur

Stanley Mazaroff ; foreword by William R. Johnston

Johns Hopkins University Press, 2010

  • (hardcover : alk. paper)

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注記

Includes bibliographical references (p. [195]-204) and index

収録内容

  • Prologue
  • Berenson's mission
  • Walters' cultivation
  • One copy on top of another
  • The Massarenti collection
  • A remarkable acquisition
  • The sacrifice of candor for acclaim
  • The Walters/Berenson contract
  • The paintings Berenson sold to Walters
  • Berenson's Faustian bargain with Duveen
  • The judgment of Berenson
  • The unfinished catalogue
  • A museum in repose
  • The line between fact and fiction
  • Faded memories
  • Afterword
  • Appendices
  • Letters between Walters and Berenson
  • Lists of paintings

内容説明・目次

内容説明

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.

目次

List of Illustrations Foreword Acknowledgments Prologue 1. Berenson's Mission 2. Walters's Cultivation 3. One Copy on Top of Another 4. The Massarenti Collection 5. A Remarkable Acquisition 6. The Sacrifice of Candor for Acclaim 7. The Walters-Berenson Contract 8. The Paintings Berenson Sold to Walters 9. Berenson's Faustian Bargain with Duveen 10. The Judgment of Berenson 11. The Unfinished Catalogue 12. A Museum in Repose 13. The Line between Fact and Fiction 14. Faded Memories Afterword Appendixes a. Letters between Walters and Berenson b. Lists of Painting Notes Bibliography Index

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