Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
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Buying Baroque - Italian Seventeenth-Century Paintings Come to America (Hardcover)
Loot Price: R1,686
Discovery Miles 16 860
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Buying Baroque - Italian Seventeenth-Century Paintings Come to America (Hardcover)
Series: The Frick Collection Studies in the History of Art Collecting in America
Expected to ship within 12 - 19 working days
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Although Americans have shown interest in Italian Baroque art since
the eighteenth century—Thomas Jefferson bought copies of works by
Salvator Rosa and Guido Reni for his art gallery at Monticello, and
the seventeenth-century Bolognese school was admired by painters
Benjamin West and John Singleton Copley—a widespread appetite for
it only took hold in the early to mid-twentieth century. Buying
Baroque tells this history through the personalities involved and
the culture of collecting in the United States. The distinguished
contributors to this volume examine the dealers, auction houses,
and commercial galleries that provided access to Baroque paintings,
as well as the collectors, curators, and museum directors who
acquired and shaped American perceptions about these works,
including Charles Eliot Norton, John W. Ringling, A. Everett Austin
Jr., and Samuel H. Kress. These essays explore aesthetic trends and
influences to show why Americans developed an increasingly
sophisticated taste for Baroque art between the late eighteenth
century and the 1920s, and they trace the fervent peak of interest
during the 1950s and 1960s. A wide-ranging, in-depth look at the
collecting of seventeenth- and eighteenth-century Italian paintings
in America, this volume sheds new light on the cultural conditions
that led collectors to value Baroque art and the significant
effects of their efforts on America’s greatest museums and
galleries. In addition to the editor, contributors include Andrea
Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian
Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E.
Spear, and Eric M. Zafran.
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