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| Author | : Charles Dellheim |
| Publisher | : Brandeis University Press |
| Total Pages | : 688 |
| Release | : 2021-09-21 |
| Genre | : Art |
| ISBN | : 1684580560 |
The old masters' new masters -- Was modernism Jewish? -- In the middle -- To have and have not.
| Author | : Dana Thomas |
| Publisher | : Penguin |
| Total Pages | : 396 |
| Release | : 2007 |
| Genre | : Social Science |
| ISBN | : 9781594201295 |
Documents how luxury goods have been transformed by a shift from exclusive distribution practices by quality-minded family businesses to mass production by profit-minded big corporations, revealing the secrets of top designers while examining the ways in which today's methods have had a negative impact.
| Author | : Anne L. Poulet |
| Publisher | : University of Chicago Press |
| Total Pages | : 392 |
| Release | : 2003-07-15 |
| Genre | : Art |
| ISBN | : 9780226676470 |
Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.
| Author | : Meryle Secrest |
| Publisher | : University of Chicago Press |
| Total Pages | : 545 |
| Release | : 2005-11 |
| Genre | : Art |
| ISBN | : 0226744159 |
Anyone who has admired Gainsborough's Blue Boy of the Huntington Collection in California, or Rembrandt's Aristotle Contemplating the Bust of Homer at the Metropolitan Museum of Art in New York owes much of his or her pleasure to art dealer Joseph Duveen (1869–1939). Regarded as the most influential—or, in some circles, notorious—dealer of the twentieth century, Duveen established himself selling the European masterpieces of Titian, Botticelli, Giotto, and Vermeer to newly and lavishly wealthy American businessmen—J. P. Morgan, John D. Rockefeller, and Andrew Mellon, to name just a few. It is no exaggeration to say that Duveen was the driving force behind every important private art collection in the United States. The first major biography of Duveen in more than fifty years and the first to make use of his enormous archive—only recently opened to the public—Meryle Secrest's Duveen traces the rapid ascent of the tirelessly enterprising dealer, from his humble beginnings running his father's business to knighthood and eventually apeerage. The eldest of eight sons of Jewish-Dutch immigrants, Duveen inherited an uncanny ability to spot a hidden treasure from his father, proprietor of a prosperous antiques business. After his father's death, Duveen moved the company into the riskier but lucrative market of paintings and quickly became one of the world's leading art dealers. The key to Duveen's success was his simple observation that while Europe had the art, America had the money; Duveen made his fortune by buying art from declining European aristocrats and selling them to the "squillionaires" in the United States. "By far the best account of Joseph Duveen's life in a biography that is rich in detail, scrupulously researched, and sympathetically written. [Secrest's] inquiries into early-twentieth-century collecting whet our appetite for a more general history of the art market in the first half of the twentieth century."—John Brewer, New York Review of Books
| Author | : Ernest Samuels |
| Publisher | : Harvard University Press |
| Total Pages | : 740 |
| Release | : 1987 |
| Genre | : Art |
| ISBN | : 9780674067790 |
Controversy swirls around Bernard Berenson today as it did in his middle years, before and between two world wars. Who was this man, this supreme connoisseur of Italian Renaissance painting? How did he support his elegant estate near Florence, his Villa I Tatti? What exactly were his relations with the art dealer Joseph Duveen? What part did his wife, Mary, play in his scholarly work and professional career? The answers are to be found in the day-to-day record of his life as he lived it--as reported at first hand in his and Mary's letters and diaries and reflected in the countless personal and business letters they received. His is one of the most fully documented lives of this century. Ernest Samuels, having spent twenty years studying the thousands of letters and other manuscripts, presents his story in absorbing detail. Berenson helped Isabella Stewart Gardner build her great collection and performed similar though lesser services for other wealthy Americans. It was merely an avocation and a useful source of income; his vocation was scholarship. But after 1904, when the book opens, his expertise was in ever-greater demand: a purchaser's only assurance of the authorship of an Italian painting was the opinion of an expert, and in this field Berenson was pre-eminent. Increasingly he was drawn into the lucrative world of the art dealers; inevitably Joseph Duveen found it essential to enlist his services, at first ad hoc, then by contractual agreement. Samuels charts the course of Berenson's long association with Duveen Brothers, detailing the financial arrangements, the humdrum chores and major contested attributions, the periodic clashes between the stubborn scholar and the arrogant entrepreneur. The portrayal of Berenson's relationship with Mary is especially intriguing: a union of opposites in all but brains and wit, bonded--despite love affairs, jealousies, recriminations--no longer by passion but by shared concerns. Impinging on their lives are those of a huge circle of friends and acquaintances in America and the beau monde of Europe. Both as biography and as a chapter of social and cultural history, it is a compelling book.
| Author | : Ann Kibbey |
| Publisher | : NYU Press |
| Total Pages | : 287 |
| Release | : 1996-11 |
| Genre | : Health & Fitness |
| ISBN | : 0814746829 |
In these spirited and powerfully written essays, a new generation of intellectuals makes its mark, challenging conservatives and liberals alike to chart a new course for a responsible politics in contemporary society. A new intellectual movement on the left emerges here. No longer trapped by the old polarizing antagonism between Marxism and feminism, these authors demonstrate as never before the need for an awaremess of gender as it affects every aspect of our society. At the same time, these paradigmatic essays map out a new terrain for feminist thinking, one that fully recognizes the complex workings of gender and leaves oppositional feminism far behind. In the keynote essay, Ambivalence as Alibi, Rosemary Hennessy challenges the most basic assumptions of postmodern sophistication to forge a compelling sytheseis of political, economic, and artistic theory. Betty Joseph, Jennifer Brody, and Poonam Pillai break through the shibboleths of Western liberal tolerance to describe gender inequalities that are intrinsically inter-cultural. Eileen Cleere demonstrates that novels are an important source for understanding how people interpret the economic conditions in which they live, linking social history and literary criticism in a provocative new way. Bridget Elliott uncovers the unusual social and artistic imagination of Marie Laurencin, an artist who was both working-class and avant-garde, and who makes us rethink basic assumptions of artistic form in the visual representation of women. Laura Lyons, analyzing the no-wash protest among IRA prisoners, discovers a new kind of political protest that draws on performance art and the discourse of the body for its political symbolism. And Joseph Litvak, in a highly suggestive critical reading, makes us wonder if the New Historicism may possibly owe its greatest debt to the charming young men of Jane Austen's fictitious world. >[ go to the Genders website ]
| Author | : Adriana Turpin |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 400 |
| Release | : 2021-05-06 |
| Genre | : Antiques & Collectibles |
| ISBN | : 1501348892 |
Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.
| Author | : Christel H. Force |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 315 |
| Release | : 2020-11-26 |
| Genre | : Antiques & Collectibles |
| ISBN | : 1501342789 |
By the turn of the twentieth century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city's galleries capitalized on foreign collectors' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the world-from Cassatt to Picasso-the contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation and market crashes which stalled collecting in Europe. Pioneers of the Global Art Market assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market. This anthology fills a significant gap in the expanding field of art market studies by addressing how, initially, contemporary art, which is now known as historical modernism, made its way into collections: who validated what by promoting and selling it, where, and how. It includes unpublished material, concrete examples, bibliographical and archival references, and should appeal to academics, curators, educators, dealers, collectors, artists and art lovers alike. It celebrates the modern art dealer as transnational impresario, the global reach of the modern-art market, and the impact of traders on the history of collecting, and ultimately on the history of art.
| Author | : Laney Salisbury |
| Publisher | : Penguin |
| Total Pages | : 352 |
| Release | : 2009-07-09 |
| Genre | : History |
| ISBN | : 1101105003 |
A tautly paced investigation of one the 20th century's most audacious art frauds, which generated hundreds of forgeries-many of them still hanging in prominent museums and private collections today Provenance is the extraordinary narrative of one of the most far-reaching and elaborate deceptions in art history. Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices. Chief among those was the struggling artist John Myatt, a vulnerable single father who was manipulated by Drewe into becoming a prolific art forger. Once Myatt had painted the pieces, the real fraud began. Drewe managed to infiltrate the archives of the upper echelons of the British art world in order to fake the provenance of Myatt's forged pieces, hoping to irrevocably legitimize the fakes while effectively rewriting art history. The story stretches from London to Paris to New York, from tony Manhattan art galleries to the esteemed Giacometti and Dubuffet associations, to the archives at the Tate Gallery. This enormous swindle resulted in the introduction of at least two hundred forged paintings, some of them breathtakingly good and most of them selling for hundreds of thousands of dollars. Many of these fakes are still out in the world, considered genuine and hung prominently in private houses, large galleries, and prestigious museums. And the sacred archives, undermined by John Drewe, remain tainted to this day. Provenance reads like a well-plotted thriller, filled with unforgettable characters and told at a breakneck pace. But this is most certainly not fiction; Provenance is the meticulously researched and captivating account of one of the greatest cons in the history of art forgery.
