PDF Ebook The Bernard and Mry Berenson collection
March 29, 2017
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PDF Ebook The Bernard and Mry Berenson collection
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The Bernard and Mry Berenson collection
PDF Ebook The Bernard and Mry Berenson collection
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Détails sur le produit
Relié: 804 pages
Editeur : Officina Libraria (1 septembre 2015)
Langue : Anglais
ISBN-10: 8897737633
ISBN-13: 978-8897737636
Dimensions du produit:
26,1 x 5,4 x 31,2 cm
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Classement des meilleures ventes d'Amazon:
1.517.725 en Livres (Voir les 100 premiers en Livres)
The title of this magnificent volume would lead you to expect a dry catalogue of paintings, with the usual coverage of attributions, technical notes, art-historical comments, comparisons and references. These are indeed all there, in exemplary form, for the Old Masters and miscellaneous paintings donated by Bernard and Mary Berenson to Harvard University, together with the villa-study center at I Tatti, outside Florence. But the book is not at all dry; it is wonderfully juicy. The editors, Carl Brandon Strehlke and Machtelt Brüggen Israëls, and their many prominent collaborators treat the paintings not simply as individual works to be pigeonholed. They are captivated – and captivate the reader – by the conviction that the collection resonates with other aspects of the lives of the two protagonists. Therefore, the entries and the fascinating essays are far richer in anecdotal details than the usual collection catalogue.Bernard and Mary Berenson liked to deny coquettishly that they were art collectors at all, pretending that they bought pictures only to decorate their homes. This was one of many disingenuous ploys that marked their high-profile careers in Italian art. They went to some length to conceal the fact that they also dealt in paintings, sometimes in paintings for which Bernard published overly optimistic attributions. They kept their advisory role to the art trade, especially their profitable relation to Joseph Duveen, out of their biographies, not to mention the smuggling they sometimes performed to get protected art works out of Italy. As the authors of the book notice, Mary and Bernard, in writing about themselves, sometimes “remembered†such things “incorrectly.â€One of the more candid remarks about the collection was penned by Mary in 1910. “We had a houseful of guests yesterday… beside other things, it is all good for ‘business,’ for people go away and speak of our pictures, etc. and it all adds to Bernhard’s authority and influence†(pp. 60-61).Bernard Berenson was a slippery character who fought a lifelong losing battle to come to grips with himself. He had an instinct for self-aggrandizement and felt it necessary to deprecate the achievements of anyone who crossed him. In one of the vignettes that enrich the volume, Caroline Elam’s essay “Berenson and Roger Fry,†the author notes that Berenson’s early monograph on Lorenzo Lotto is a bundle of contradictions. Berenson employed the rather mechanistic attributional method of Giovanni Morelli – without naming him – but when it came to defining the artistic personality of Lotto he turned incoherently to psychological speculation written up in the rhapsodic style of Walter Pater.Berenson not only put down individuals who he saw as threats to his authority, he also dismissed entire areas of study that competed with his vitalistic brand of connoisseurship. He liked to say that when it came to identifying the hand behind a given work, no role of importance was played by technical, iconographic or documentary considerations. This attitude added to the mystique that was his main stock in trade, but it was self-defeating and vitiated the value of his contribution to art history. Another less than admirable aspect of Berenson’s persona is that he failed to acknowledge Mary’s important contributions to his writings and attributions.The catalogue entries are wonderfully rich and complete. The history of the attributions and previous scholarship are given full treatment. Each master - even the forgers among them - is introduced by a reconstruction of the historiography of the artistic personality concerned. A recurring motif is formed by Berenson’s battles with colleagues. Especially Roberto Longhi, who for half a century studied the same masters as Berenson, in constant backbiting competition with BB.The paintings are placed not only in the context of the Berenson collection and the historiography of Italian art, but also in that of their original locations and functions. Panels from altarpieces are provided whenever the evidence allows with reconstructions of their position in the lost ensemble from which they were removed.The collection itself is a mixed bag, but that is part of its interest. My own favorite is a predella panel by Girolamo di Benvenuto showing the Virgin appearing to the Roman patrician John and his wife. The two of them are lying peacefully asleep on their backs as the Virgin comes to tell them in a dream that she would like a church built for her, the church that would become Santa Maria Maggiore.The basis for Berenson’s “authority and influence†was his connoisseurship, the bestowal of names on paintings whose authorship is not apparent. The catalogue is sprinkled with remarks about Berenson’s attributions of his own paintings, which were often inaccurate, to the point that he bought a number of outright forgeries – catalogued separately and illuminatingly. I would have liked to have seen these observations collected and analyzed, as material for testing Berenson’s judgments. But how much can you ask from a book that is already so replete, ending with a fascinating section of Berensoniana and a listing of paintings formerly owned by the Berensons?In his Foreword, the director of I Tatti, Lino Pertile, writes that “this is a catalogue that can, and indeed must, be read as a book.†That is going too far for a 5-kilo tome of 820 pages. But it speaks to the literary appeal of the book and the fascination of its subject. The catalogue will be indispensable for the study of early Italian painting, but it will repay the interest of non-specialists as well. This is furthered by the outstanding production values of the book. It is beautifully printed, with excellent color plates, and impeccably translated and edited. For all of its complexity, the book is quite easy to use. Books of this kind, in Italy, are most often financed by banks and distributed only to their own clients. That this volume is offered by Villa I Tatti and Officina Libreria as a trade edition for the page price of a novel, is a praiseworthy service.
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