Lodovico carracci biography of mahatma
•
People/Characters Gertrude Stein
•
Buying Baroque: Italian Seventeenth-Century Paintings Come to America 0271077271, 9780271077277
Table of contents : • Introduction The Critical Fortunes of Italian Baroque Painting in America Edgar Peters Bowron We are all familiar with the passionate interest in Italian Baroque painting on the part of a handful of American collectors, museum curators and directors, and scholars beginning in the 1920s, and with how it gained more and more adherents over the decades, particularly in the 1950s and 1960s. But it is easy to forget that the Baroque played at least a supporting role from the first tentative appearances of European art in this country; even our Founding Fathers showed an interest in the art of the period. Before his departure for Europe in 1784, Thomas Jefferson compiled lists of works, based in part upon Horace Walpole’s (1717–1797) description of the pictures gathered by Sir Robert Walpole (1676–1745), England’s de facto first prime minister, at Houghton Hall in Norfolk, of which he wanted copies for his art gallery at Monticello, including Salvator Rosa’s Prodigal Son (early 1650s; now at the State Hermitage Museum, Saint Petersburg). In Paris, Jefferson bought copies after Domenichino, Guido Reni, Jusepe de Ribera, Francesco Solimena, and Carlo Maratti, and from Italy he wrote that Carlo Dolci had become a “violent favorit
COVER Front
Copyright Page
Series Page
Table of Contents
List of Illustrations
Foreword
Acknowledgments
Introduction: The Critical Fortunes of Italian Baroque Painting in America (Edgar Peters Bowron)
Notes to Introduction
Chapter 1: Italian Baroque Paintings at the Ringling Museum: The Legacy of John Ringling and Chick Austin
Notes to Chapter 1
Chapter 2: The Atheneum to the Fore: Hartford and the Italian Baroque (Virginia Brilliant)
Notes to Chapter 2
Chapter 3: The American View of the “Forgotten Century” of Italian Painting: Reminiscences of a Conservator and Art Dealer (Marco Grassi)
Notes to Chapter 3
Chapter 4: An Invisible Web: Art Historians Behind the Collecting of Italian Baroque Art (Richard E. Spear)
Notes to Chapter 4
Chapter 5:Baroque in the Caribbean: Luis A. Ferré and the Museo de Arte de Ponce (Pablo Pérez d’Ors)
Notes to Chapter 5
Chapter 6: Dealing and Scholarship: The Heim Gallery, London, 1966–1995 (J. Patrice Marandel)
Notes to Chapter 6
Chapter 7: The Detroit Institute of Arts and Italian BaroquePainting (Andria Derstine)
Notes to Chapter 7
Chapter 8: The Bob Jones University Collection of Italian Baroque Paintings (Ian Kennedy)
Notes Buying Baroque