BERNARD BERENSON
�ormation and �eritage
VII L L A I TA V TAT TTI SERIES, 31
VII L L A I TA V TAT TTI SERIES, 31
BERNAR BERN ARD D BERENSO BERENSON N
�ormation and �eritage �eritage
J O S E P H C O N N O R S A N D LOUIS A. WALDMAN WALDMAN
VILL A I TA TATTI THE HARV HARVARD UNIV ERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES
© Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.har vard.ed vard.eduu All rights reserved. Printed in the United States of America by Sheridan Books, Book s, Inc. --
Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references references and index. ---- (first) . Berenson, Bernard, –. . Art Ar t criticsUn critics United ited States. I. Connors, Joseph. . .dc [B]] [B
Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications Cover illustration: William Rothenstein, Bernard Berenson Berenson , . Bernardd Berenson , ca. . Frontispiece: James Kerr-Lawson, Bernar Both images are from the Berenson Collection, Villa I Tai Tai e Harvard University Center for Italian Renaissance R enaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.)
Contents
On�
Introduction ��o
Bernard Berenson and Jean Paul Richter e Giambono’s Provenance �hre�
Art, Commerce, and Scholarship e Friendship between Oo Gutekunst of Colnaghi and Bernard Berenson �ou�
Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court �i��
Bernard Berenson and “Tactile Values” in Florence �ix
Bernard Berenson’s Florence, �e�e n
Bernard Berenson and Aby Warburg Absolute Opposites
�igh�
Bernard Berenson and Islamic Culture “ought and Temperament” �in�
Bernard Berenson and Asian Art �en
Bernard Berenson and Kenneth Clark A Personal View - �le�en
Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Tai ��el� �
Bernard Berenson and Paul Sachs Teaching Connoisseurship �hi rteen
“e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr.
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Contents
�ourteen
e Antiquarian Carlo Alberto Foresti of Carpi, a Correspondent of Bernard Berenson Unknown Documents for the History of a Dispersed Collection
�ifteen
Bernard Berenson and Archer Huntington �i xteen
Bernard Berenson and Count Umberto Morra “Do Not Forget Me” �e�e nteen
Bernard Berenson and Katherine Dunham Black American Dance
Bibliography
Contributors
Index
Contents
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Bernard Berenson and Asian Art
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, at I Tai, Mary Berenson wrote in her diary: “I walked up the hill & got some marvellous Japanese effects of mist & hills & trees.” Likewise in , her husband Bernard said of the Seignano countryside: “With the snow high on the mountains all around and vapors of fog in the valleys going down to the Arno, this could be a Japanese landscape.” Neither had been to Japan, but Bernard had long trafficked in such analogies, publishing as early as March in Venetian Painters of the Renaissance that Carlo Crivelli’s forms “have the strength of line and the metallic lustre of old Satsuma or lacquer” and “are no less tempting to touch.” is statement engendered a violent reaction from Charles Eliot Norton, Bernard’s former professor at Harvard University, who, as Bernard later recalled, “protested vigorously against my venturing to give naturalization papers . . . to Japanese art and ranking Carlo Crivelli for his essential qualities with their lacquers, rather than with European painting.” e puritanical Norton, who had
Unless otherwise stated, all leers and diaries are in the Bernard and Mary Berenson Papers, Biblioteca Berenson, Villa I Taie Harvard University Center for Italian Renaissance Studies. Villa I Tai holds photocopies of Mary Berenson’s leers to her family, which are held by the Lilly Library at Indiana University, as well as photocopies and some originals of Bernard Berenson’s leers to Yashiro Yukio, which come from Yashiro’s family. Some of the material in this essay appears in my essay “Berenson, Sassea, and Asian Art” (Strehlke ). Quoted in Morra , . Berenson , ix–x. Berenson , .
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upbraided the undergraduate Berenson for reading Walter Pater, was not going to let t he adult Berenson get away with slipping Satsuma ware into a text about a Renaissance master. He also may not have been happy that Crivelli, a painter much loved by his generationclose to that of Charles Eastla ke, who in the s and s had bought significant works by the art ist for the National Gallery in Londonwas only mentioned in the preface and not the text. So too Satsuma and lacquer spoke of clipper ships and overstuffed Victorian drawing roomsNorton’s Boston, not Berenson’s new world, or at least the one that was soon to be, for as we shall see, in October of that year Berenson’s view of Asian art changed radically. Italian critics of the Venetian Painters took the opposite track of Norton. For them the book was too scientific. Angelo Conti, the then recently appointed director of the Accademia in Venice, in his monograph on Giorgione published the same year, felt that the new criticism, such as represented by Berenson, was unable to “capture that element of poetry that makes up every artistic soul.” Conti later wrote in an article with the apt title of “La visione imminente” that to experience a Venetian master to full effect, one needed to imbibe the atmosphere of the Serenissima: “the stillness of the waters” and “the walls laden with color.” e publisher Putna m’s cover design of the Venetian Painters with its gondola embossed in gold (Fig. ), which had so disappointed Berna rd as tourist y, would have suited Conti, who in a later direct aack on Berenson described the myriad impressions of a ride through the lagoonsigni ficantly in the company of the Italian writer and aesthete Gabriele D’Annunzioas a counter to the vacuity of the American’s aesthetics. A taste for the East also characterized turn-of-the-century Italian aestheticism, so much so that the verista literary critic Felice Cameroni had called Japan “that suburb of Europe.” Cameroni had superintended the production of Carlo Dossi’s Amori , for which the author wanted a cover like a Japanese manga (Fig. ) as the most fiing expression of the chaste childhood loves recounted therein. It was designed by Luigi Conconi, who was proud of what he termed the “giapponesismo” of his own work. D’Annunzio was less delicate in his appropriation of the East. He had wrien an article about the arrival in Rome of the Japanese ambassador, Tanaka Fujimaro, a westernizing educational reformer who had been to Amherst College, but whom D’Annunzio turned into a mystery from the East in order to find an excuse for a languid description of the Roman boutique of Maria
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On Berenson’s Italian critics in the s, see Cinelli , –; and Strehlke , . See Conti , . Conti had previously been director of the Gabineo Disegni e Stampe degli Uffizi, during which time he wrote the monograph, which was published by the Fratelli Alinari in Florence. He ended his career as director of Capodimonte in Naples. On Conti, see the introduction by Pietro Gibellini in La beata riva: Traato dell’oblìo (Conti ), and the introduction by Ricciarda Ricorda to the reprint of Giorgione . Conti , (reprinted in Conti , –). Samuels , . Quoted in Dossi , . On Japonisme in Italian artists, see Troyer ; Becaini b, ; and Farinella . Quoted in Dossi , . e cover of this edition of Amori reproduces the original.
Carl Brandon Strehlke
� Cover of Bernard Berenson, Venetian Painters of the Renaissance (New York and London, ����).
Berea, who specialized in Japanese objects and aristocratic clients. ere was a similar shop, the Atelier Janei, in Piazza Antinori in Florence. Japanese characters and things also appear at key moments in D’Annunzio’s novel Il Piacere, which brought the aesthetic movement to full flower in Italy. e protagonist, Andrea Sperelli, claims that Count Sukumi, part of his nation’s delegation to Rome, who has a face like a Katsushika Originally published in La tribuna , December . Reprinted in D’Annunzio , –; see also Federico Roncoroni’s notes on pp. –. On D’Annunzio’s Japonisme, see Trompeo ; and Lamberti . Becaini a. Bernard Berenso n and Asian Art
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� Luigi Conconi, cover of Carlo Dossi, Amori (Rome, ����). An example of Italian fin-desiècle Japonisme.
Hokusai and who has fallen in love with Elena, Duchessa di Scerni, would commit ritual suicide with a wakizashi that their hostess uses to cut the pages of a Western book, because Sukumi espied the duchess touching it. As for his conational, the Princess Issé, she fail s to fit in because she looks so maladroit in her European dress. Suk umi had also appeared in D’Annunzio’s novella Mandarina , in which a Roman lady decides she wants a love affair with a Japanese man but then recoils at actual physical contact. Whereas D’Annunzio used the foreigners to underscore the divide between the cultures and to heighten the exotic sensuality of the narrative in Il Piacere by having the semiautobiographical Sperelli and the Asian Sukumi pursue the same nobildonna , Berenson tried to reconcile East In Capitan Fracassa , June ; reprinted D’Annunzio , –.
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and West, most famously in his articles on Sassea, which took full account of his discovery of Asian art that was specifically not Satsuma, lacquer, or the ukiyo-e print. If asked whether their statements on the Japanese effects of the I Tai landscape with which I opened this essay brought to mind any particular artist, the Berensons, I believe, would have replied And Hiroshige, a woodblock artist known for his snow scenes, whom Bernard said in a leer to Mary of was beer than James McNeill Whistler, the American painter most associated with Japonisme. (W histler even ate with chopsticks and lined his Chelsea studio, nicknamed “Nagasaki,” with Hiroshige prints, such as can be seen in his Caprice in Purple and Gold: e Golden Screen [Freer Gallery of Art, Washington], in which t hat artist’s views of the -Odd Provinces are spread before the kimono-clad sier.) e occasion that led to Bernard’s comment on Hiroshige and Whistler was a visit to Boston’s Museum of Fine Arts, in which he spent an aernoon looking at Japanese prints until, as he wrote, “there was no more light in the sky,” also reminding Mary of the print exhibition that they had aended in Paris in . e laer event, I believe, was the first time either had taken a sustained look at any Asian art; certainly, it was the first time together. is was the exhibition that Mary Cassa had brought Edgar Degas to see and that famously inspired her own set of ten drypoint and aquatint prints, exhibited in as an “Essai d’imitation de l’estampe japonaise.” She had previously wrien enthusiastically to Berthe Morisot about going to the exhibition, where she had already bumped into Henri Fantin-Latour and James Tissot, saying that she now only dreamed of color on copper. Berenson got enough out of his t wo forays into the ukiyo-e world to make some amusing analogies, but not much else. In the North Italian Painters of the Renaissance , he wrote: “Hokusai, in his extreme old age, used to sign himself ‘e Man-mad-about-Drawing,’ and with equal fitness, Tura, all his life, might have signed ‘e Man-mad-about-Tactile-Values.’” is was in , by which time Berenson had begun collecting Asian art, but ostensibly not woodblock prints. If four years earlier, in September , a subscriber to e Burlington Magazine for Connoisseurs let that month’s issue fall open by chance to an illustration of a Chinese painting (Fig. ), she might have been surprised to see that it was in an article signed by Bernard Berenson that was about the Sienese artist Sassea. In the Chinese painting, Berenson wrote, “we feel an ecstasy of devotion and vision, here we behold a transubstantiation of body into soul, whereof we rarely get as much as a vanishing glimpse in our own art.” Berenson asked why Christia n art had never found a common manner for depicting its founder, and he went on to compare Buddhism with Franciscanism: “for what can be more like in spirit than certain phases of Buddhism and certain phases of Franciscanism?” We can be forgiven, however, for suspecting some amount of playacting in this assessment, as is sometimes the case with Berenson. Indeed, he virtually admied as much in an epilogue to a reprint of articles:
Berenson a. Cited in Mahews , . Berenson , . Berenson a, . Bernard Berenso n and Asian Art
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� Zhou Jichang, Lohan Demonstrating the Power of the Buddhist Sutras to Daoists , ca. ����, as reproduced by Bernard Berenson with the caption “Chinese Painting of the Twelfth Century” in Bernard Berenson, “A Sienese Painter in the Franciscan Legend,” Burlington Magazine � (����). Denman Waldo Ross Collection, Museum of Fine Arts, Boston.
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At the . . . time pre-Ken-Lung, even pre-Ming Chinese art was revealed to us and what had hitherto been undreamt of, Tang, Sung and even Buddhist paintings. As early as the winter of ’– of the last century I had the good fortune to help unpack a shipload of Chinese pictures that Fenollosa had procured for Boston and in the following Spring I brought back the news to an incredulous Europe. I naturally tended to exaggerate its expressive qual ities as opposed to those of our mediaeval artists. Regardless, in Berenson had inquired, “why is Christian art so unreligious, so unspiritual, as compared with the art of Buddhism?” e answer was that Western art had “a fatal tendency to become science” and “an inherent incapacity for spiritual expression.” “Of European schools of design,” Berenson wrote, “none comes so close to those of the far east as the school of Siena.” Sassea was his example, but Berenson actually missed the only element in that artist’s oeuvre that can lay claim to Asian influence: the pastiglia in the frame of the San Sepolcro altarpiece, in which the paern of intertwined morning glories with the buds and leaves seen from different points of view is Ch inese in origin (Fig. ). e paern began as a naturalistic representation of the plant in the underglaze decoration of Yuan poery, becoming more abstract as the design moved throughout Asia, as can be seen in derivations of the theme in Korean lacquerware. Its arrival in the West is due to Turkish derivations in tiles of Chinese ceramics dating from the late fourteenth and early fieenth century. Probably from some such source, or textiles, the design made its way to Siena, finding a natural home as a decorative subsidiary element of altarpieces, and not only Sassea’s. In books about Far Eastern art from the early s, it was not uncommon to assert specific influences, not just parallel developments, as Berenson had done. Ernest Francisco Fenollosa’s Epochs of Chinese and Japanese Art of contains chapters with the now improbable titles of “Greco-Buddhist Art in China. Early Tang” and “Greco-Buddhist Art in Japan. Nara Period.” e Hellenistic influence on Indian artand consequently on that of East Asiawas a popular notion at the time, but it irritated Indian nationalists like the Irish-born Sister Nivedita and other Asian writers like Okakura Kakuzo, the Japanese curator of Asian art at the Museum of Fine Arts in Boston, wit h whom Berenson was in touch via Isabella Stewart Gardner; in , Berenson wrote her to ask Okakura what he thought of Lafcadio Hearn’s Japan: An Aempt at Interpretation . Okakura’s and others’ denials of any Greek influence in Asian art (Gandharan sculpture, however, being Berenson , –. I quote from Berenson’s English-language manuscript preserved in the Berenson Archive. Berenson a, . On the tiles in the mosque of Sultan Murad II, or the Muradiye, in Edirne, which are the best surviving example of the transmission of Chinese motifs in ceramics to the West, see Carswell , –; and Degeorge and Porter , . On this subject, see Guha-akurta , chap. ; and Strehlke , . “I am reading it with great interest, but am eager to know what such an intellectual Jap as Okakura thinks of it”: Berenson to Gardner, I Tai, January ; Hadley , . Bernard Berenso n and Asian Art
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�a
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Detail of a large serving dish, Chinese, Yuan dynasty (����–����), ca. ����–��, Jingdezhen. British Museum, London, given by Robert G. Bruce (no. ����,����.�).
�b Detail of a small box with decoration of peony scrolls, Korean, Joseon dynasty (����–����), fifteenth–sixteenth century. The Metropolitan Museum of Art, New York, lent by Florence and Herbert Irving (SL.�.����.�.�).
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�c Tiles, Turkish, ca. ����–��. Murad II Mosque, Edirne.
�d Detail of the gilt pastiglia of Sassetta, The Funeral of Saint Francis , ����–��. National Gallery, London (no. ����).
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a sticking point) later forced Fenollosa to reduce the question to a maer of dating. e controversy can also be found in other writ ings of the time and the influential book on the art of Sri Lanka by Ananda K. Coomaraswamy, lifelong curator of Indian art at the Boston Museum of Fine Arts from . He and his then wife Ethel Partridge (later Mairet) used contemporary folk practices to illuminate medieval Sinhalese art. e practice of making broad cultural comparisons persisted to mid-century. In his Pelican volume on Japanese art, Robert Treat Paine, also a curator in Boston, whose very name encapsulates that old Boston of which the young (and even old) Berenson was always somewhat enthralled, asserted just as Berenson had in that “the Japanese feeling for art is summed up in the problem of decorative designing . . . If one thinks of European parallels, of illuminated manuscripts or of Sienese painting, the analogy is again between arts dependent on faith and feeling rather than on reason and science.” e key moment in the formation of Berenson’s taste for Asian art came during an October visit to the Boston Museum of Fine Arts with the Harvard fine arts professor Denman Ross, to meet Ernest Francisco Fenollosa. At the time, Fenollosa was organizing his huge collection of Japanese art, which eventually came to the instit ution, as well as a show of paintings f rom Daitokuji in Kyoto. From the Harvard class of , Fenollosa had gone to Japan and become “native,” entering the rarefied cult of Tendai Buddhism and officially cataloguing the country’s national treasures for the Japanese government. He also brought texts of Japanese and Chinese poems to the West, including the Tale of Genjii , which (thanks in part to his literary executor Ezra Pound) was later translated by Arthur Waley, a keeper at the British Museum who was also a friend of the Berensons. e couple read the novel, but as indicated by Mary’s penciled note in one of the tomes of the multivolume work, it was only at chapter five of the fih volume that they began to think it was geing interesting. Nevertheless, Bernard was an avid reader of Asian literature; on May , Mary wrote to Bernard’s mother Judith Mickleshanski: “My tray is carried into his room, where he lies reading Chinese poetry, listening to the wi nd in the trees.” Fenollosa showed Berenson various things in Boston, including “a figure of a saint with all the literary qualities and much of the cha rm of Lorenzei” and a series of Chinese paintings from the th century, which revealed a new world to me. To begin with they had composition of figures and groups as perfect and as simple as the best that we Europeans have ever done. en they had, what we never dream of in oriental art, powerful characterization, now surpassing Dürer, and now Gentile Bellini . . . they are profoundly contrite, full of humility, love, humanity, of the quality of the tenderest passages in the Gospels, or in the story of St Francis . . . I was prostrate. Fenollosa shivered as he looked. I thought I should die, and even Denman Ross who looked dumpy Anglo-Saxon was jumping up and down. We had to poke and pinch each other’s necks and wept . . . We ended Coomaraswamy . Paine and Soper , . Berenson Family Papers, Houghton Library, Harvard College Library, Harvard University. Bernard Berenso n and Asian Art
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with seeing a large screen by Koreen [sic] [Fig. ], a wild sea with green waves, toothed and fanged like terrible beasts gnawing rocks as strange as in Lorenzei. Oh, the freedom, the wind, the sunshine, the salt smell, the coolness, and great spirit of nature that was in this! What should we make of this sudden, overwhelming aesthetic experience? First of all, it was typical of the mid- to late nineteenth century, and in the Anglo-Saxon world, Asian, not Western art, was oen the stimulus. e A merican artist John La Farge had felt a similar ecstasy some decades before on stumbling across a Japanese print in a New York City junk shop, later w riting that he could “well remember the various impressions and rapid conclusions of the moment.” Secondly, Berenson’s session with Fenollosa opened up a whole new world of Asian art. From then on, Berenson became primarily interested in Chinese art, largely ranging from the Tang dynasty through to the Song. e series of Song paintings from Daitoku-jiof which R oss purchased a group for Boston were later the impetus for the comparison between Siena and the art of the East. For the Sassea article, Berenson simply quoted directly from Fenollosa’s catalog of the exhibition, which toured three East Coast cities in –. Until recently, the I Tai copy was for the most part uncut, showing that Berenson’s interest in obtaining actual information about the paintings dated only from when he had to put something about them in his Sassea article. e aesthetic experience or memory of the pictures remained primary. Over the next decade, Berenson became more serious about Asian art. When he first republished his article on Sassea in , he wrote that he had plan ned to add three other essays “elaborating what I had to say about the religious paint ing of Japan, about imaginative design, and above all about the claims of illustration as a separate art.” One reason why he may never have finished these essays is an awareness of a growing professiona lism in the field. In , Gardner wrote to the Berensons that “Okakura is busy at the Museum, cataloguing the Japanese things that have been huddled there since Fenollosa’s time, and finds forgeries and forgeries!!! And has a great contempt for Fenollosa. Sic transit .” e aractions of Asian art continued to fascinate, however; aer a visit to Charles Lang Freer’s collection, then in Detroit, Berenson wrote to Gardner: “How I wish I were starting out in life! I should devote myself to China as I have to Italy.” And in Berenson to Mary Smith Costelloe (later Berenson), Northampton MA, October . is is what the art historian Kenneth Clark would describe as “pure aesthetic sensation.” Such an experience had also formed part of Clark’s artistic awakening. In his autobiography, he described seeing in some Fusuma-e screens in the Chishaku-in, a lile-visited temple in Kyoto, which provoked the uncovering of a buried childhood memory of having viewed them at a London show of Japanese art, and the realization that this youthful experience with such a totally unfamiliar work of art had contributed to his beginnings as an aesthete. It was his Japanese friend Yashiro Yukio, who had been at I Tai in the s (see below), who told Clark that he was indeed right about the screens having been in London: see Clark , –. La Farge , ; see also Strehlke , . Berenson , vii. Hadley , . Ibid., ; see also Strehlke , .
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, he published another book on Sienese art in wh ich he again took himself to task for never completing his essay on “the relations between Sienese Art a nd the Arts of the Far East.” He had, however, been collecting and reading about Asian art. During a visit to Boston, he even sat for the society photographer Sarah Choate Sears look ing at a Tang equestrian figure of the type of which he later bought two. e next year at the British Museum, he saw the Tang paintings that Aurel Stein had recently discovered in the caves of Dunhuang. is experience must have inspired Berenson’s acquisition in of his most important painting, the Dancing Girls of Kutcha , then also thought to be original Tang. Stein and Laurence Binyon, the English poet and keeper of Oriental prints and drawings at the British Museum, later published Berenson’s picture. Stein wrote his part of the article while on a mission in Kashmir with the aid of color photographs specially prepared at Berenson’s request in Milan (Fig. ) and sent to Stein from there. In an earlier leer to Gardner, Berenson said that “personally I only buy Chi nese and Persian” but also admied “Mary’s dislike for Oriental things.” Because of that aversion, her leers to her family in England are invaluable for gauging Berenson’s thinking about Far Eastern art. In one from October , she wrote of how when her husband Strehlke , fig. . Stein and Binyon –. On Berenson and Asian art at the British Museum, see Ying Ling Huang , . Bernard Berenso n and Asian Art
Detail of the waves “toothed and fanged like terrible beasts” of Ogata Ko¯rin, Waves at Matsushima, eighteenth century, six-panel folding screen. Museum of Fine Arts, Boston, Fenollosa-Weld Collection (no. ��.����). Berenson saw it with Ernest Francisco Fenollosa, Denman Ross, and Mary McNeill Scott (Fenollosa’s assistant) at the Museum of Fine Arts, Boston, on �� October ����.
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� Photograph commissioned by Bernard Berenson from Edizioni Beatrice d’Este in Milan for Aurel Stein of Dancing Girls of Kutcha , tenth–eleventh century, in the style of Wei-chi’ih I-Seng (active late eight century), hand scroll. Berenson Collection, Villa I Tatti—The Harvard University Center for Italian Renaissance Studies.
brought back from Paris an eighth-centur y Javanese tufa head of the Buddha (Fig. ), he proclaimed it a tremendous example of “Tactile Values” and glorious as “pure art.” “But,” Mary went on, it is so idol-like, and so hideous as representation, that you are quite upset to have it in the room. I am afraid it is going to knock all our other things to pieces, art istically and spiritua lly, but yet it is awful and revolting, in a way. I must have a photograph of it taken for you to see what B.B. considers a real ‘Ma sterpiece’.” On December, as she later wrote to her mother, Mary was in for another shock: A case arrived, & I told [Roberto, the manservant] to open it & bring the contents up for me to see. is he did, & then he placed on my bed two Chinese works about years old, we both burst into ir resistible roars of laughter. is is what they looked like. B.B. says that they are “of the very essence of art,” but if so, they are so “essential” that they really look like nothing at all. We laughed & laughed. When I told B.B., he smiled a superior smi le, in the consciousness of holding the doctrine (Fig. ). Two days later, Bernard’s Matisse, now in Belgrade, arrived; this, as Mary said, “again caused Roberto and me to unite in a heart y laugh.” Mary Berenson to her family in England, I Tai, December .
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� ˉ , Javanese, Head of Anada Sailendra dynasty (eighth– eleventh century), ca. ���–���, stone, probably from Candi Borobudur, Magelang, Java. (Photo: Gabinetto Fotografico, Polo Museale Fiorentino.) Photograph taken for the Berensons by Harry Burton, ca. ����.
Mary’s aitude began to change in , following a visit to the great Munich exhibition of Muslim artone of those shows, like the Paris exh ibition of Japanese prints, that helped transform European taste. She wrote: “I have just got back from the exhibition, dead tired, but so interested and pleased that I really can’t express half . All my sort of foolish prejudice against Oriental Art has goneI begin to understand its fascination. I have no more ‘grudges’.” And indeed she did not. Six years later, Mary wrote in her dia ry, “e new library looks splendidthe Buddha is very impressive seen at the end of my corridor (Fig. ).” Mary Berenson to her family in England, Munich, September ; see also Strachey and Samuels , . Mary Berenson, diary, February . e Buddha is actually of the Buddha’s disciple nanda. Bernard Berenso n and Asian Art
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�a Mary Berenson, letter to her family with drawing of fig. �b, dated Settignano, � December ����. Hannah Whitall Smith Archive, Lilly Library, Indiana University, Bloomington.
�b Tomb Figure of a Kneeling Woman, Chinese, Han dynasty (��� BC–AD ���), second century BC. (Photo: Gabinetto Fotografico, Polo Museale Fiorentino.) Photograph taken for the Berensons by Vittorio Jacquier, ca. ����.
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�a View of the niche in the New Library, as installed in ���� with the sculpture ¯ of Ananda, ca. ����.
�b ¯ Ananda, Chinese, Northern Qi dynasty (���–��), ca. ���. (Photo: Gabinetto Fotografico, Polo Museale Fiorentino.) Photograph taken for the Berensons by Vittorio Jacquier, ca. ����.
Bernard Berenso n and Asian Art
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�� Interior view of Villa I Tatti, with a mix of Italian paintings and Asian objects, mid-����s. (Photo: Luigi Artini.)
Whereas the landscaping of I Tai is oen cited for the way it influenced garden design in Tuscany and elsewhere, the innovation of its interior decoration does not oen get credit. Most of the design was set in t he years before the First World War. (e Berensons rarely bought any Asian art a er that date.) e combination of Italian goldground and other pictures with art from Asia that was largely pre-Song Chinese and for the most part figurative was absolutely new (Figs. and ). ere is, for insta nce, hardly any porcelain, then part and parcel of most gatherings of Asia n art. Furthermore, the installation is very clean, with no accumulation of knickknacks and the other paraphernalia typical of an early twentieth-century house, particularly in Umbertine Italy, but also America and England. e difference bet ween I Tai and other collections of Asian art, like the Isabella Stewart Gardner Museum, is striking. Perhaps the best comparison would be with Frank Lloyd Wright’s Taliesin, his Wisconsin studio that was begun in (though rebuilt tw ice), in which Asian art is cleanly arranged along the shelving (although high a nd unreachable). Unfortunately, it is not known if Wright Fantoni, Flores, and Pfordresher ; and Liserre . See Chong , –, figs. , , –, –.
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�� Interior view of Villa I Tatti, showing Asian sculptures before Sassetta’s Borgo San Sepolcro Altarpiece, ca. ����. (Photo: Luigi Artini.)
visited I Tai and saw its collections when he lived nearby in Fiesole for a few months in . Berenson did not become the scholar of Chinese art that he had hoped. It was his Finnish colleague Osvald Sirén, professor at Stockholm University, who took up its study aer a career devoted to Florentine Trecento and Quarocento painting from Gioo to Buffalmacco to Lorenzo Monaco. is included in a catalog of the Jarves collection of early Italian painting at Yale Universitya work that in the critic Richard Offner systematically destroyed in a magisterial display of the new connoisseurship. Speaking of the troubled history of the collection’s display and upkeep at the university, he wrote that Sirén’s catalog was “a final sop to its story.” If anyone, then, it was not Sirén but Berenson who was Offner’s principal i nterlocutor. e poor reception that Sirén’s ari-
Levine , –. A website by Gianpaolo Fici and Filippo Fici, Frank Lloyd Wright Fiesole (architeura.supereva.com/wright/index.htm), also gathers information about Wright’s stay and his design for a house and studio in Fiesole. Vakkari , –. In November , Berenson told the Philadelphia collector John G. Johnson that he had once wanted to catalog the Jarves collection. See Strehlke –, . Offner , . Offner enjoyed correcting Berenson’s aributions. He did so concerning Berenson’s catalog of the John G. Johnson Collection in a series of lectures held at Johnson’s house in –. See Strehlke , . Bernard Berenso n and Asian Art
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butions received in the small world of connoisseurs concerned with such things does not seem to have been the reason he turned to China, which he first v isited in , because throughout his life he continued to write articles on Tuscan artbut by the s, his publications on China began to overtake all other subjects. A talented photographer, Sirén illustrated many of them himself, and as John Harris has noted, they were oen magnificent examples of printing. Sirén’s compilation of Chinese criticism (first published in ) is still consulted as a primary source, and his essays on Chinese gardens, including a study of eighteenth-century European chinoiserie gardens, were important early investigations on the subject. Sirén’s friendship with Berenson dates to , and Berenson owned many of Sirén’s publications on Chinese ar t, though late in life Berenson told his Japanese friend Yashiro Yukio that he was “deeply disappointed in Sirén’s first volume on Chinese painting.” Berenson and Yashiro had an acquaintance going back to the s. It was revived aer the war and engendered a regular correspondence between Seignano and Tokyo, with Berenson somet imes even asking Yashiro to welcome distinguished friends like the New York collectors Charles and Jayne Wrightsman and the dancer Katherine Dunham to Japan, and sending him a book on contemporary Japan by Fosco Maraini for his opinion. Maraini was an inveterate traveler in Asia who later became professor of Japanese at the Università di Firenze. In , Berenson had wrien a short introduction to Maraini ’s first book, an account of Maraini’s travels in Tibet. In , Maraini took a particularly engaging photograph of Berenson at the Villa Palagonia in Bagheria, Sicily, which he titled Homo civilissimus , and he served as a guide to Berenson and Nicky Mariano throughout their stay in Sicily at that time (Fig. ). Berenson and Yashiro first met in , aer Laurence Binyon of the British Museum, who had been close to Fenollosa, wrote Berenson a leer of introduction to “a young Japanese friend of mine called Yashiro who has just lately gone to Florence . . . He is much more articulate than most Japanese & talks English quite well. He has come to Europe to study European ar t, but hasn’t turned his back on his own. He cares about poetry, too, and eosophy, a religion that combined elements of Eastern mysticism and of which Sirén was a member, may have influenced Sirén’s araction to Chinese art, but unlike Berenson’s commentary on Sassea, Sirén’s writings never sought to explain Chinese spirituality in art. Harris , . Sirén , , and . e laer was reprinted by the Dumbarton Oaks Research Library and Collection in with an introduction by Hugh Honour. Berenson to Yashiro, I Tai, July , concerning Osvald Sirén’s Chinese Painting: Leading Masters and Principles (Sirén –). “Show them all the best in Japan that they can see in a short time.” Berenson to Yashiro, Casa al Dono, Vallombrosa, September . Maraini . Berenson’s interest in East Asian art was known to a wide circle. e dedication on a catalog of the postwar traveling show of Japanese masterpieces ( Exhibition of Japanese Painting and Sculpture Sponsored by the Government of Japan ) reads, “To BB / With affectionate wishes / from Fern Shapley.” As Berenson warmly acknowledged in the preface, Fern Shapley had seen the second edition of his Drawings of the Florentine Painters (, ix) through the press. Maraini , –. e preface is dated I Tai, March . Maraini and Chiarelli , .
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�� Bernard Berenson with Topazia Alliata di Salaparuta, her husband the Orientalist Fosco Maraini, and their daughter Dacia Maraini, Bagheria, ����. Berenson Collection, Villa I Tatti—The Harvard University Center for Italian Renaissance Studies.
in himself he seems to me really charmi ng.” Yashiro worked in the I Tai Library, seemingly having a pleasant effect on the household. Aer reseling in Tokyo as the director of the newly found Institute of Art Research in Ueno Park, he wrote to Berenson: It is a nice lile building, and I am sure that both Mr. and Mrs. Berenson would smile, imagining that naughty boy Yuki installed in it as director! What I want really to show to you is the work itself, and it is one of my most cherished dreams to be told by Mr. Berenson that he did not educate Yuki uselessly, seeing that a new method of study in the field of Oriental art is actually being opened according to the idea of Mr. Berenson, transmied to the Far Ea st by Yuki!! In an earlier leer to Mary, he claimed that his “special interest is in the comparative study of the Eastern and Western arts, and in Japan one gets absolutely no chance to study the western art in the original.” In Florence, he set out to remediate this w ith a study of Sandro Boicelli, as well as an acquisition of a Boicelli for Japan. In the laer he failed. About that, he wrote to Mary Berenson from London on January :
Binyon to Berenson, London, October . Also on Yashiro, see Takagishi . Yashiro to Berenson, Tokyo, August . e institute, bequeathed an endowment by Viscount Kuroda Seiki, a painter in the yga , or Western style, officially opened in . It is now the National Research Institute for Cultural Properties, which oversees research on Japan’s artistic heritage. e original building, which still stands and is now a gallery, was designed in a Beaux Arts style by Okada Shinichirô. Yashiro to Mary Berenson, Paris, November . Bernard Berenso n and Asian Art
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Perhaps you remember how I was enthusiastic when I told you that I saw a real Boicelli in the restorer’s room in the Uffizi Gallery. I understood at that time that it belonged to Prof. Toesca. At that time I was anx ious to get it bought by a Japanese collector & I had a big hope in it when that damned earthquake put an end to it. He later also wrote to the Berensons about his fi nd of Boicelli ’s Trinity , this time admitting that he had tried to buy it for himself. Yashiro’s three-volume monograph on Boicelli, published in , was distinguished for the quality of its illustrations (Fig. ), and particularly the details, an innovation for the time. Because of the expense of reproducing them, Yashiro had long despaired of findi ng a publisher, but Sirén and the British travel wr iter Edward Huon finally found him one. Yashiro occasionally enlisted the Berensons to help procure photographs from private collectors like Gardner, but otherwise Giorgio Laurati of the Brogi firm took the photographs. In the acknowledgments, the author credited Laurence Binyon and Arthur Waley with first encouraging his “‘Oriental’ enthusiasm for Boicelli”; indeed, Yashiro persevered in finding Asian undercurrents in Boicelli. My favorites are in chapter five, in the book’s second section dedicated to the “Sensuous Boicelli,” in which he di scusses the artist’s flowers; the subtitles include “Flowers of the Japanese Painters: Korin and Old Tosa Schools,” “Senuous Flowers,” “Utamaro’s Flowers,” “Sensitive Flowers,” “Flowers in Buddhistic Paintings,” and “Oriental Influences in Flower Painting in Italy.” Yashiro’s acknowledgments are a veritable who’s who of Italian art history at that time, and include a wide range of art historians and museum officials. Berenson may have been irritated by the equal acknowledgment to both him and Herbert Horne (–), whom Yashiro had never met but whose Alessandro Filipepi, Commonly Called Sandro Boicelli was an invaluable precedent. Tensions over other aspects of the book caused temporary fallings-out with the Berensons, and seemingly Yashiro’s removal from significant research on the revised edition of Berenson’s Drawings of the Florentine Painters (a position later filled by Pietro Toesca, an influential art historian, created a distinguished collection of Italian paintings. is Boicelli was probably the Annunciation sold by Toesca to Louis F. Hyde (now at the Hyde Collection, Glens Falls, NY). It was published by Berenson in the June issue of Art in America. Lorizzo , . He is referring to the Great Kanto Earthquake of September , which devastated Tokyo, Yokohama, and surrounding areas. Yashiro to Bernard and Mary Berenson, London, November . It is not clear if Yashiro was also the potential purchaser of the Toesca picture. e Trinity is in the Courtauld Institute, London. Kenneth Clark acknowledged that this inspired him to do the same in his books of photographs of the National Gallery, One Hundred Details om the National Gallery (Clark ), and More Details of Pictures om the National Gallery (Clark ). See Clark , . Sandro Boicelli was published by the Medici Society in London and Boston in an edition of copies (Yashiro ). A second, revised edition was issued in . On the firm, see Silvestri . Horne . Berenson and Horne had had a falling-out over Boicelli aributions; see Strehlke –, –.
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Kenneth Clark). In late and early , Yashiro passed a lonely period in Paris and London worried about the Great Kanto Earthquake and the Boicelli volumes. Berenson introduced him to Salomon Reinach, whose Apollo was the first book on Wester n art that the Japanese scholar had read. Other wise, Yashiro complained about depression, passing time in “stupid cinemas,” his mother alone in Japan, a nd the absence of the Jahrbuch der Preußischen Kunstsammlungen in the Bibliothèque nationale. In another leer, he wrote that he had “no friend in U.S.A., except perhaps Offner, but I don’t know where he is, he never wr ites me.” In the preface to Boicelli , he would write that Offner “in our daily company in Italy gave me sound influence by his seriousness of study in Florentine masters.” During his time in London, Yashiro laid plans for the new Tokyo art history institute, writing to Berenson that he had persuaded “the interested people in Japan to establish an institute where practically your method of study is to be pursued in the field of Oriental art. You may have heard of this ‘Institute of Art Research’ from Sir Robert Wi.” A number of years later, Berenson wrote to Yashiro expressing how much he was looking forwa rd to seeing something from Yashiro’s hand: But I am happy to learn t hat you have been applying our methods to the study of Chinese painting, & I beg of you as a personal favour to make haste & give me a specimen of your work. I am so bored with most everything, whether general or particular about Eastern art that it would give me joy to read something that was neither soap-bubbles nor microscopic pebbles.
ere was a misunderstanding over a request by Yashiro’s publishers for the Berensons to provide leers of introduction for his first trip to the United States. A leer from Yashiro to Mary Berenson dated London, “late in the night” on August , indicates that their refusal distressed him. Mary later did write to Isabella Stewart Gardner for him; see Hadley , –. As can be deduced from a leer dated London, November , Bernard was annoyed with Yashiro’s dra for a list of Boicelli’s works, and even told Yashiro that he could only do photographic research on the revision of Drawings of the Florentine Painters. ough the preface of the Boicelli monograph suggests that Yashiro planned to return to Japan, he stayed in Europe for several more years, and his time at I Tai overlapped with that of Clark. Yashiro tried to meet Clark in England in October (leer to the Berensons, dated October: “I have heard that your book of Drawings is being prepared for a smaller edition & that an excellent young scholar from Oxford, whom I was about to meet & missed the chance, is helping you. I am very glad to hear that, as I am among the m ost ardent to see the book come out in a form within convenient reach of a student”). Yashiro and Clark became good friends, and Yashiro gave the Clarks’ first baby, born at San Martino, a Mensola, a present of pink Japanese silk (Clark , ). Other misunderstandings with the Berensons may have followed, as a later, undated leer reveals that Yashiro was not visiting I Tai, but nevertheless frequenting the Clarks’ residence at San Martino. Yashiro to Mary Berenson, Paris, November . e library still does not own a run of the periodical. Yashiro to Mary Berenson, London, January . Yashiro , xii. Yashiro to Bernard and Mary Berenson, October [no year indicated]. Berenson to Yashiro, I Tai, January . Bernard Berenso n and Asian Art
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�� Yashiro Yukio examining an illustration proof of Sandro Botticelli published by the Medici Society of London and Boston in ����, ca. ����. (Photo courtesy of Tanaka Atsushi.)
e war years were difficult for Yashiro because, as he wrote in a n undated leer (now at I Tai) to John Coolidge at the Fogg Museum, of “his international way of thinking.” Berenson had addressed a leer to Paul Sachs at the Fogg recommending that the uni versity take on the Japanese scholar: “Far Eastern studies are as all other art-historical subjects being pursued in a way that ma kes me despair of the subject & wish oen that the teaching of art history should be altogether abandoned. Yashiro would be a corrective.” e corrective was, of course, the Berensonian method; Yashiro also admied this, saying that the “history of Eastern Art, especially that of Eastern painting, is just like [the] History of Italian painting, before it was reconstructed with a new scientific method by Morelli and B.B.” Berenson to Sachs, I Tai, February . See McComb , . Yashiro to Coolidge, Oiso, Japan, .
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Yashiro did not get a position at Har vard and remained in Japan, visiting both Europe and America occasionally. Ill health delayed publication of his Years of Japanese Art , which came out in with a dedication to Berenson, whom, he said, “illuminated and enriched my work in Eastern fields.” e then ninety-four-year-old Berenson was losing his energies, but Nicky Mar iano wrote of how pleased he was by the book. For a long time, Yashiro had also been shepherding the publication of a Japanese translation of Berenson’s Italian Painters of the Renaissance . It was issued in . However, in , the same year as a Cecil Beaton photo of Berenson in front of his Sas sea and statues of the Buddha, Berenson had already prepared a dedication of the translat ion to Yashiro in which he spoke of Boicelli’s affinity with Japanese art with the same enthusiasm that he had of Sassea’s in : Boicelli’s swi flame-like yet modelling line is almost unique in European art but I have encountered it frequently in Japanese drawings. Indeed there is a great affinity between the draughtsmanship of Florentine and Japanese artists. anks to you, my dear Yashiro, we Europeans have come to have subtler and more penetrating appreciation of the achievement of your countrymen and they of ours.
A position at Harvard had already been discussed in . Mary Berenson mentioned in a leer to Isabella Stewart Gardner (I Tai, January ) that Edward Forbes, director of the Fogg Museum, had talked of bringing Yashiro to Harvard; see Hadley , –. Yashiro had given lectures at Harvard in , and had also returned to Boston in on the occasion of an exhibition of Japanese art sent by the government to the Museum of Fine Arts to celebrate the tercentenary of Harvard University. At that time, he studied other works in the Boston museum. See Fontein , . In January , Yashiro brought one of Berenson’s most important Chinese paintings, In the Palace, or Ladies of the Court (Kong-zhong tu) , to Tokyo for restoration; see Roberts , –, cat. . Yashiro . “Your book has been in the house already for over a week, but B.B. has taken a long time looking at it and now I can tell you how delighted he is with it and with the quality of the illustrations and deeply grateful for the dedication.” Mariano to Yashiro Yukio, I Tai, March . In November , the translator Yashiro Masui visited Berenson at I Tai. In New York in April of the same year, Yashiro Yukio began negotiating with Phaidon Press about the translated version. Strehlke , fig. . Berenson to Yashiro, December ; see Yamada .
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Bibliography
Contributors
ALISON BROWN
Brown is emerita professor of of Italian Renaissance R enaissance history histor y at Royal Holloway, Holloway, University of London. Her recent books include i nclude e Return of Lucretius to Renaissance Florence () and Medic Medicean ean and Savona Savonarolan rolan Flore Florence nce (), with forthcoming essays on “Piero de’ Medici in Power,” “Defini “Defining ng the Place of Academies in Florentine Politics and Culture,” “Lucretian Naturalism and the Evolution of Machiavelli’s Ethics,” and “Leonardo, Lucretius, and eir Views of Nature.” DAVID A L A N BROWN
Brown is curator of Italian Italia n paintings at the National Gallery of Art in Washington, where he has organized organized many international loan exhibitions, exh ibitions, including Belli Bellini, ni, Giorgione Giorg ione,, Titian, (). Brown’s monograph on Andrea Solario and the Renaissance of Venetian Painting (). earned him the Salimbeni Prize, Italy’s most distinguished award for art books, in . His study Leon Leonardo ardo da Vinci Vinci:: Orig Origins ins of a Geni Genius us () won the Sir Bannister Fletcher Award in i n for f or the t he most deser deservi ving ng book boo k on art or architec arc hitectu ture. re. In I n recogn reco gnition ition of his hi s achievement in furthering the appreciation of Italian culture, Brown was awarded the Order of Merit of the Republic Republic of Italy in . . KATHRYN BRUSH
Brush earned her PhD at Brown University; she is professor of art history i n the department of visual ar ts at the University of Western Western Ontario, Canada. Her research focuses on Romanesque and Gothic art, medieval sculpture, the historiography of culturalhistorical thought, and histories of museums, archives, and art collecting. Her books include e Shaping of Art History: Wilhelm Vöge, Adolph Goldschmidt, and the Study () and Vastly More than Brick and Mortar: Reinventi ng the Fogg Art of Medieval Art () (). ). She recently recently organized organi zed an exhibition, ex hibition, with accompanying Museu Mu seum m in i n the th e s s ( book,, on Map book (). Currently, Current ly, she is prepar Mappin pingg Medieva Medi evalis lism m at the Canadi Can adian an Frontie Fron tier r (). ing a book that explores the scholarly imagination of the pioneering American medievalist Arthur Kingsley Porter.
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THEA BURNS
Burns received her PhD from the Courtauld Institute of Art, University of London; her MAC from the art conservation program, Queen’s University, Kingston, Ontario; and her BA (honors, first class) from McGill University, Montreal. She received a certificate in paper conservation from the Center for Conservation and Technical Studies, now Straus Center, Harvard University Art Museums. She served as Helen H. Glaser Senior Paper Conser vator Conser vator for Special Spec ial Collect Col lections ions in i n the Weissman Weissma n Preser vation Center, Harvard Har vard College Library, as associate professor in the art conservat ion program, Queen’s Queen’s University, and as a conservator in private pr ivate practice. She has published in numerous professional journals and conference postprints. She is the author of e Invention of Pastel () and e Luminous Trace: Drawing and Writing in Metalpoint (); she is Painting Painti ng () Met alpoint (); currently an independent scholar. scholar. M A RI O C AS AR I
Casari studied Persian and Arabic languages in Italy and the Middle East, and obtained his PhD in Iranian studies at the Istituto Universitario Orientale, Naples. He is lecturer in Arabic language lang uage and literature at the Italia Italiann Institute of Oriental Studies, University of Rome “La Sapienza.” Sapienza.” His research deals with w ith cultural cult ural relations between Europe and the Islamic world from late antiquity antiquit y to the modern age. He has published a number of studies concerning the transmission tran smission of narrative works in the Arabic A rabic and Persian Persian traditions tradit ions in particular the Ale Alexand xander er Roma Romance nce and on the circulation of literary, iconographic, and scientific themes between East and West. In , he was awarded the Al-FarabiUNESCO UN ESCO prize for his book Ales Alessand sandro ro e Utopia nei romanzi roman zi persiani persian i medievali (). For his research on Oriental studies in Renaissance Italy, he was made Andrew W. Mellon Fellow at I Tai Tai in –, –, where he became acquainted with the Berenson Arch ive. ROBERT COLBY
Colby holds a PhD in art history from the Courtauld Institute of Art. He is currently working worki ng on a book about Bernard Berenson’ Berens on’ss aesthetic aesthet ic utopia, Altamu A ltamura. ra. In , , he held a Craig Hugh Smyth Visiting Fellowship at Villa I Tai. In , he received a Franklin Research Grant from the American A merican Philosophical Society. Societ y. He is currently cur rently a fellow at the Institute Instit ute for the Ar Arts ts and Humanities at the University of North Carolina at Chapel Hill. J O S E P H C O N N O R S
Connors, a New Yorker by birth and formation, earned his doctorate in at Harvard University and has taught Renaissance and baroque art at the University of Chicago, Columbia University, and Harvard University. He was director of the American Academy Aca demy in Rome from to and of Vi Villllaa I Tai from to . He has held fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and the A merican Council of Learned Societies; he has published books books on Francesco Borromini, Roman urban histor y, and Giovanni Giovanni Baista Baist a Piranesi.
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Contributors
ROBERT A N D CAROLYN C U M M I N G
Robert Cumming is an adjunct professor of the history of art at Boston University. Educated at the University of Cambridge, he worked for the Tate Gallery and was then responsible for founding and running Christie’s Education. In , he joined Boston University to lead its London campus. He and his wife Carolyn, who is an independent scholar and garden designer, have devoted many years to the study of connoisseurship and the Berenson circle. Carolyn Cumming, who is high sheriff of Buckinghamshire and fellow of the Royal Society of Arts, has supported the Buckinghamshire and Milton Keynes Community Foundations by horse riding from the north to south of the county to raise funds for charities that support families and children. J E R E M Y H O WA R D
Howard is head of research at Colnaghi and senior lecturer in the history of art at the University of Buckingham, where he heads the department of art history and heritage studies. He studied English at Oriel College, Oxford, and Italian Renaissance art at the Courtauld Institute of Art. Aer working for thirteen years in the London art market, he taught history of art for ten years at the University of Buckingham and for three years at Birkbeck, University of London, before rejoining Colnaghi as head of research in . He also runs an MA program in eighteenth-century interiors and decorative arts in collaboration with the Wallace Collection. His Hi s research interests lie mainly in the field of British eighteenth-, nineteenth-, and early twentieth-century collecting and the development of the London art market. Recent publications include Frans Hals’s St. Mark: A Lost Masterpiece Rediscovered (), Cranach (), Colnaghi: e History (), and “Titian’s Rape of i n Britain Britai n and Sale to America” Americ a” ( (). ). Europa: Its Reception in I SA SA BE L L E H Y MA N
Hyman is professor emerita in the department of art history at New York University, where she taught tau ght for fort for t y years. years . She received recei ved her BA from Vassar Vassa r College, Colle ge, her MA M A from Columbia University, and her her MA and PhD in art ar t history histor y from New York York University’s Institute Instit ute of Fine Fine Arts. Ar ts. Her fields of of specialization are the history of architect ure, Italian Renaissance art ar t and architecture, and a nd the architecture of Marcel Breuer. She She has been the recipient of a Guggenheim Fellowship and a grant from f rom the Graham Foundation for Advanc Adv anced ed Studie St udiess in the t he Fine A rt rts; s; she was wa s Kress Kr ess Fello Fe llow w at Vill Vi llaa I Tai Tai in i n – –. . She was Rober R obertt Sterling Sterl ing Clar C larkk Visiti Vis iting ng Profess Pro fessor or at Will Wi llia iams ms College, Col lege, and a nd for severa seve rall terms ter ms served as editor and coeditor of the College Art Association’s scholarly monograph series. In addition to art icles and reviews, she is the author author of Brunelleschi Brunelleschi in Perspective (), Fieenth-Ce Fieenth-Century ntury Florentine Studies: Palazzo Medici and a Ledger for the Church of San Lorenzo (), and Marc Marcel el Breuer, Breu er, Architec Archit ect: t: e Ca Caree reerr and the Buildings Buildi ngs () the laer was one of two winners in of the Alice Davis Hitchcock Book Award given annually by the Society of Architectural Historians for “the most distinguished work of schol scholar arshi shipp in the hi histor stor y of arc archit hitec ectu ture.” re.” She is al also so coaut coauthor hor wit withh Ma Marr vi vinn Trachtenberg of Arch Archite itect cture: ure: From Pre Prehis histor toryy to t o Post Po stmode moderni rnity ty (). She has served
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on the boards of the College Art Association, the Society of Architectural Historians, the Friends of the Vassar Art Gallery, and the Muscarelle Museum at the College of William and Mary. ELISABETTA LANDI
Landi, an official in the national heritage administration, is the granddaughter of the collector Carlo Alberto Foresti; she studied medieval and modern art at the University of Bologna. She focuses on the history of collecting, especially that of Carlo Alberto and Pietro Foresti, as well as the laer’s connection with Adolfo Venturi, and the patronage of the artist Giovanni Muzzioli. She has published numerous articles on the baroque and neoclassical decorations of Emilia-Romagna, specifically on Stefano Orlandi, including his entry in the Dizionario Biografico degli Italiani . She has also studied the iconography and iconology of Pomona, Venus, and Heliades, and emblematic literature. Her current research is on mystical and ascetic women. She also contributes to several sc holarly journals and organizes conferences. WILLIAM MOSTYN-OWEN
Mostyn-Owen, who died on May , was introduced to Bernard Berenson and I Tai by Rosamond Lehmann in the autumn of and acted as Berenson’s assistant until the connoisseur’s death in , working on the revision of Lorenzo Loo and, with Luisa Vertova, on the Venetian and Florentine Lists. He compiled the Bibliografia di Bernard Berenson () and was instrumental in obtaining Harvard University’s acceptance of the villa. He joined the Old Master department of Christie’s, London, in , was appointed a director at Christie’s in , and was made chairman of Christie’s Education in . He retired in . B E R N D ROECK
Roeck studied history and political science at the University of Munich, where he earned his PhD in . ereaer, he was a fellow of the Leibniz Institute of European History (Mainz) as well as scientific assista nt at the University of Munich. In , he obtained his habilitation with a study on the city of Augsburg duri ng the irty Years’ War. From to , he was director of the Centro Tedesco di Studi Veneziani in Venice. From to , he held the chair of medieval and modern history at the University of Bonn; from to , he was on leave and filled the position of secretar y general of the Villa Vigoni Association in Loveno di Menaggio, Italy. Since , he has held the chair of modern history at the University of Zurich, Switzerland. His work covers the artistic, cultural, and social history of the irty Years’ War and the European Renaissance. DIETRICH SEYBOLD
Seybold, independent scholar at Basel, has, aer completing his PhD at the University of Basel (), carried out research in the areas of history and art history. His book on Leonardo da Vinci and the Oriental world () has reexamined the myth of Leonardo
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traveling to the East and provided the first overview on all Oriental references in Leonardo’s life, notes, and oeuvre. His main area of research is now the history of connoisseurship, with a forthcoming biography of the Leonardo scholar and pupil of Giovanni Morelli, Jean Paul Richter (–), as well as a brief history of the painting collection of Henriee Hertz, commissioned by the Bibliotheca Hertziana (, in Italian). CARL BRANDON STREHLKE
Strehlke, adjunct curator of the John G. Johnson Collection at the Philadelphia Museum of Art, is the author of the catalog of that collection’s early Italian paintings. He has been involved in exhibitions on Sienese Renaissance art, Fra Angelico, Pontormo, and Bronzino at both the Philadelphia Museum of Ar t and the Metropolitan Museum of Art. He is chief editor of the forthcoming catalog of paintings in the Bernard and Mary Berenson Collection at Villa I Tai. CLAUDIA WEDEPOHL
Wedepohl (PhD, University of Hamburg) is an art historian who joined the staff of the Warburg Institute in . Since , she has been the institute’s archivist. Her research focuses on two fields: the reception of late antique models in fieenth-century Italian art and architecture, and the genesis of Aby Warburg’s cultural theoretical notions. She is the author of In den glänzenden Reichen des ewigen Himmels: Cappella del Perdono und Tempieo delle Muse im Herzogpalast von Urbino (), coeditor of Aby M. Warburg’s Per Monstra ad Sphaeram: Sternglaube und Bilddeutung (; Italian edition, ), and coeditor of the multivolume edition of Aby Warburg’s collected writings, Gesammelte Schrien, Studienausgabe (–).
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Index
Page numbers in italics indicate illustrations. Abbo, Senda Berenson (sister of Bernard Berenson), , Adams, Henry, aestheticism: Dionites, “Altamura,” and e Golden Urn, –, , , –, –; Islamic art and culture and, –, ; Panofskys condemnation of, ; Il Piacere (DAnnunzio, ) and aesthetic movement in Italy, ; Warburgs rejection of, , , , Aesthetics and History (Berenson, ), , , –, Aga-Oglu, Mehmet, , Agnews (art gallery), , Ailey, Alvin, Alberti, Guglielmo degli, – Alberti, Leon Baista, Alberti Lamarmora, Alessandro Filipepi, Commonly Called Sandro Boicelli (Horne), , Algeria: Bernard Berensons travels in, ; Bernard Berensons views on revolt agai nst the French, – Allendale Nativity (Giorgione), Allegory (Bellini), Allen, Marion Boyd, Alliata di Salaparuta, Topazia, Altamura Garden Pavilion, Fenway Cou rt, –, –; artistic and cultural evolution of Gardner and, –, , ; as “carriage house,” , , , , –, ; design and construction of, , –, , , –, ; Dionites, “Altamura,” and e Golden Urn, –, –, –, , –, , –, , –, ; Monte Oliveto Maggiore and, , –, ; postcard of Bari Gate, Altamura, inspiring, , –, , ; purpose of, , , –, , ; Tremont Entrance to Olmsteds Back Bay Fens and, –, ,
Alte Pinakothek, Munich, Altman, Benjamin, Altman, Robert, , , American Academy of Arts and Leers, Bernard Berensons membership in, American, Bernard Berensons selfidentification as, –, e American Scene (James, ), “Amico di Sandro” (Berenson, ), Amori (Dossi, ), , nanda statue (Chinese, Northern Qi dynast y, ca. ), , Anderson, Jaynie, Andreas-Salomé, Lou, Anet, Claude, , Angelelli, Walther, , Anglo-Catholicism, –, Annunciation (Boicelli), n Annunciation (arib. Catena), Pio chapel, Carpi, Annunciation (Lippi), Annunciation (Masolino da Panicale, ca. /), , Annunciation (Scarsellino), Anrep, Baronessa Alda von, Anstruther-omson, Clementina Caroline (Kit), Anthology (Prince Baysung hur), , , , – Apollo (Reinach, ), Apollonio di Giovanni, n, , , , “Apologia of an Ar t Historian” (Clark, ), – e Archangel Gabriel (Sco, aer Boicelli, ), Architecture of the Renaissance in Italy (Burckhardt), Ardizzone, Heidi, Aretino, Spinello, ���
“Ariosto” (Titian), now called Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo, , Aristotle with a Bust of Homer (Rembrandt), Armenian miniatures, Bernard Berensons brief interest in (ca. ), n Arnold, Mahew, Art and Illusion (Gombrich, ), , arts and cras movement, Ashburnham, Lord, –, Asian art, –, –; Berenson, Mary, on, , , , –, ; Clark and, , ; collected by Bernard Berenson, –, –; comparisons between Western art and, –, , , , , , n; Fenollosas influence on Bernard Berenson regarding, , , –, , , n; Franciscan and Buddhist spirituality, Bernard Berensons comparison of, , –, , ; limitations of Chinese art, Bernard Berenson on, n; Sassea altarpiece and, –, , , , , , n, ; Sienese art and, –, , –; Sirén and, – ; ompson on Fogg Museums China Expeditions, –; in Villa I Tais interior decoration, , –, –; Western vog ue for, , –, , ; Yashiro Yukio and Bernard Berenson, n, –, Aspertini, Amico, Assing, Ludmilla, Assisi, Bernard Berensons experience of color in, n At the Seashore (Conder), avant-garde, Florence and emergence of, , –, , – Azzolini, Tito, Back Bay Fens, Boston, –, Bagnacavallo, , Baigneuse Blonde ( Renoir), Balanchine, George, Balbo, Italo, Baldi, Bernardino, n Ballet Nègre, Ballets Russes, Balzac, Honoré de, Bambach, Carmen, Banti, Anna, Baptism of Christ (Calvaert), , Barbantini, Nino,
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Index
Barberino Master, n Bardini, Stefano, –, Barr, Alfred H., Jr., , Bassei, Marcantonio, Bathing Woman (Cézanne), Bale of the Sea Gods (Mantegna), – Baudelaire, Charles, , Baysunghur, , , , – Beaton, Cecil, Beay, Talley, , , “Beauty and Ugliness” (Lee, ), n, – Beecher, Henry Ward, Begarelli, Antonio, Behzad, , Beit, Sir Alfred, , Bella Nani (Veronese), Belle Ferronière (da Vinci), Bellini, Gentile, Bellini, Giovanni, , , , , –, – Bellini, Jacopo, , –, Benzoni, Giuliana, n, Berenson and the Connoisseurship of Italian Painting (exhibition, National Gallery of Art, Washington, ), , “ Berenson at Harvard: Bernard and Mary as Students” (virtual exhibition, Villa I Tai, ), Berenson, Bernard, –; as agent and dealer, ; American Academy of Arts and Leers, membership in, , –; American, self-identification as, –, ; art collection of, ; “Bernard Berenson at Fiy” conference (October ), ; Catholicism, conversion to, , ; childlessness of, ; connoisseurship of, – (See also connoisseurship of Berenson); correspondence of, –, –, , (See also specific correspondents); critical reception of (–), –; death of (), , ; education at Harvard, , , –, ; fascism, opposition to, , n, , –, n; Florence of, –, – (See also Florence, ca. ); Gardner and, – (See also Altamura Garden Pavilion, Fenway Court; Gardner, Isabella Stewart); Hemingway and, ; Herrick novel, response to, –; Islamic and Asian art, interest in, – (See also Asian art; Islamic art and culture); Jewishness of, , , , , n, , , , , –, ; legacy of, ; marriage
of, , , ; modern art, aitudes toward, , , , , , , , –; Museum Course, Fogg Museum, Harvard, and, –; on Nazism, –; Parker Traveling Fellowship application, rejection of (), , , n, –, n; photographs, use of, , –, ; protégés of, –, n, – (See also specific protégés); public aention, dislike of, ; publishing and writing inhibitions of, , n, n, ; scholarship of, –; tactile values, concept of, –, – (See also tactile values); technical aspects of art, lack of interest in, , , –; Warburg and, –, – (See also Warburg, Aby); women and, , , n, , , –, –, Berenson, Bernard, photographs of: in chauffeured automobile with Mary, Italy (ca. ), , ; with Clark (), ; with Dunham (ca. ), , ; in hall of I Tai (), ; with Maraini fami ly (), ; with Morra (), ; with Mostyn-Owen in garden of I Tai (), ; in Poggio allo Spino (), ; in study at I Tai ( and ), , ; traveling in Islamic world (–), –; with Walker (), , ; writing in bed (n.d.), Berenson, Bernard, works of: Aesthetics and History (), , , –, ; “Amico di Sandro” (), ; on Arch of Constantine, ; Central Italian Painters of the Renaissance (), , , n, , , n; Drawings of the Florentine Painters (), , , , , , n, , –, , , ;Florentine Painters of the Renaissance (), , , , , , , , , , , n; “Ghazel: ought and Temperament” (poem), , –; Italian Painters of the Renaissance (), , , , , , , , , , ; Italian Pictures of the Renaissance, , , , ; Lorenzo Loo (), –, ; North Italian Painters (), n, n, n, ; One Years Reading for Fun (), ; publishing and writing inhibitions of Bernard Berenson, , n, n, ; e Rudiments of Connoisseurship (), , , ; Rumour and Reflection (), ; Sketch for a Self-Portrait (), , –, , –, –, , n, n,
n; ree Essays in Method (), , n, ; e Venetian Painters of the Renaissance (), , , , , , –, , n; on Venetian painting in New Gallery (), . See also lists compiled by Bernard Berenson Berenson, Mary (née Smith, then Mary Costelloe; wife): Dionites, “Altamura,” and e Golden Urn, –, –, , , , , –; art trade, encouragement of Bernard Berenson to enter, n, ; Asian art and, , , , –, ; cassone panel from Jarves collection, Yale University, aribution of, , –, ; childlessness of, ; Clark and, –, , , , , n; correspondence of Bernard Berenson and, ; death of (), ; on flowers in dining room at I Tai, ; Gutekunst and Colnaghi Gallery, –; Herrick novel, response to, –; on Hildebrand, , n; Hunting ton, Archer, and, , –, , , , ; on Islamic art and culture, , , , –nn–, , n, –n, n, n, –; James, William, and, , , ; “Life of BB,” n, n; linguistic abilities of, ; list of Bernard Berensons reading maer (), , n, n; marriage to Bernard Berenson, , ; marriage to Frank Costelloe, , ; Mayor, A. Hya, and, , , ; Morra and, ; Obrist and, ; photographs of, , ; Porters and, ; as public speaker, –; Richter and, , n; as student at Harvard, ; tactile values and, , , –; typewriters given to, , ; Walker and anthology project, ; on wealthy clients, , –; Yashiro Yukio and, –, n, n Berea, Maria, – Bergson, Henri, Berkeley, George, n Bernard Berenson: e Making of a Connoisseur (Samuels, ), Bernard Berenson: e Making of a Legend (Samuels, ), Bernheim (dealer), Beini, Maria Teresa (“Lucia”), Beyond Architecture (Porter, ), Beyond Good and Evil (Nietzsche), Biagio dAntonio, Bicci di Lorenzo, , ,
Index
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Biddle, Katherine, Bindo Altoviti (Cellini), Bing, Gertrude, , , n, Binyon, Laurence, , , , Birth of St. John (Ghirlandaio), , e Birth of Tragedy (Nietzsche, ), , Black Square (Malevich), Blair, Sheila, Blake, William, Blechen, Karl, Blenheim Palace, Raphael altarpiece from, Blochet, Edgar, n, , e Blood of the Redeemer (Bellini), – Blue Boy (Gainsborough, ca. ), , –, Blues for the Jungle (ballet; Pomare), Boas, Franz, Bode, Wilhelm von, n, , –, , –, , , Boito, Camillo, Bonaparte, Paulina, Bonomi (industrialist), , , Book of Tea (Okakura Kakuzo), Bordone, Paris, , Borghese Gallery, Rome, – Borgo San Sepolcro altarpiece (Sassea), –, , , , , , n, Bosanquet, Bernard, n Boicelli, Sandro: Alessandro Filipepi, Commonly Called Sandro Boicelli (Horne), , ; “Amico di Sandro” (Berenson, ), ; Annunciation, n; e Archangel Gabriel (Sco, aer Boicelli, ), ; Bernard Berensons appreciation of, ; in Berenson and the Connoisseurship of Italian Painting (exhibition, National Gallery of Art, Washington, ), ; Gutekunst and Colnaghi Gallery, , –, ; Madonna of the Eucharist (early s), , , ; “myth of Florence” and, , ; Pallas and the Centaur, ; Prince Chigis export sales of works of, n, ; tactile values and, ; Tragedy of Lucretia (ca. –), , –, , ; Trinity, ; Uhde on, ; Venus Rising om the Sea, ; la Virgine col bambino benedicente lofferta dun angelo, n; Warburg and, , ; Yashiro Yukios study of, , –, Bowers, Claude G., Bracci family, , Bradley, Katherine (“Michael Field”), Braglia, Martinelli, , Brancacci Chapel frescoes (Masaccio),
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Index
Brancusi, Constantin, Braque, Georges, –, , , Breugel, Pieter, Brewster, Christopher, Brewster, Henry B., –, , Brewster, Lisl Hildebrand, , , , , British aristocracy, sales of old masters by, –, – Brockhaus, Heinr ich, , , , Bromhead, Mr., Bronzino, n Brown, Alison, –, , Brown, Charloe Cabot, Brown, David Alan, , , Brown, J. Carter, , n Brown, John Nicholas, Brunelleschi, Filippo, Brush, Kathryn, , , Buccleuch, Duke of, Buddha head (Head of nada, Javanese, eighth–eleventh century), , , Buddha statue of nanda (Chinese, Northern Qi dynasty, ca. ), , Buddhist altar (sixth century), Buddhist and Franciscan spirituality, Bernard Berensons comparison of, , –, , Buffalmacco, Buonamico, Burckhardt, Jacob, , –, , , – , , , n, “Burgundian Heresy” of Porter, – e Burial of a Franciscan Friar (Magnasco), Burne-Jones, Edward, Burning of Troy (Jolli), Burns, ea, , , Burrel Madonna (Bellini), Burroughs, Alan, Burton, Richard Francis, Callmann, Ellen, n Calo, Mary Ann, Calvaert, Denys, , Cameroni, Felice, Campori, Marchese Maeo, , Campori, Marchese Onofrio, Cannon, Henry W., n Caprice in Purple and Gold: e Golden Screen (Whistler), Carandini, Elena, Caravaggio, Michelangelo Merisi da, , Carlisle, Earl of, Carlyle, omas, –, –,
Carnarvon, Lord, n Caroto, Giovanni Francesco, Carpaccio, Viore, Carpano, G. B., n Carpi, ; Castello Pio, preservation of, , , ; Museo Civ ico, , , , –; Palazzo Foresti, , –, , , . See also Foresti, Carlo Alberto Carpi, ein Fürstensitz der Renaissance (Semper, ), Carstairs, Charles, n, , Carter, Howard, n Casanova, Achille, Casari, Mario, , , Cassa, Mary, cassone panel from Jarves collection, Yale University, aribution of, , , , –, , Castagno, Andrea del, Catena, Vincenzo, , –, Caaneo van Dycks, , Cavalcaselle, Giovanni Baista, , Caves of the ousand Buddhas, Dunhuang , Western China, – Cellini, Benvenuto, , Cencis, Nina de, Cennini, Cennino, , , , , Central Italian Painters of the Renaissance (Berenson, ), , , n, , , n Cézanne a Firenze (exhibition, Palazzo Strozzi, Florence, ), , Cézanne, Paul, , , , , , –, , , , , n, , , Chardin, Jean-Siméon, Charles I of England, , , Chiesa, Achillito, Chigi, Prince, n, Chinese art. See Asian art Choice of Books om the Library of Isabella Stewart Gardner, Fenway Court (Gardner, ), Chong, Alan, , , n, – Christ (Mantegna), Christina of Denmark, Duchess of Milan (Holbein the Younger, ), –, , , Church of the Advent, Boston, – Cicerone (Burckhardt), , El Cid, Hunting ton translation of, , Cimabue, Cione, Jacopo di,
Civilization (Clark, book and television series), , Civilization of the Renaissance in Italy (Burckhardt, ), , , , Clark, Alan (son), , Clark, Colee (daughter), Clark, Jane Martin (wife), , , , n Clark, Kenneth, –, –; “Apologia of an Art Historian” (), –; at Ashmolean, ; Civilization (book and television series), , ; correspondence with Bernard Berenson, –, ; Drawings of the Florentine Painters, work on revision of, , , , –, , – ; encomia on Bernard Berenson, –, , , –, , ; first impressions of I Tai household regarding , ; e Gothic Revival (), , ; joint influences on and beliefs of Bernard Berenson and, –; Landscape into Art (), ; lecturing and television career, , –; legacy of, –; Leonardo da Vinci (), , , ; marriage of, , ; Mayor, A. Hya , and, , ; Moments of Vision (Clark, ), , ; Morra and, , n, ; at National Gallery, London, –, , –, n, , n; National Gallery photographic books of, n; nature of relationship between Bernard Berenson and, –, –; on ninetieth birthday of Bernard Berenson, ; e Nude (), , , ; Pagan Sacrifice (pendant) at Saltwood, ; photograph of Clark and Bernard Berenson (), ; photographs of, , , ; Piero della Francesca (), , ; as protégé of Bernard Berenson, –, ; on “pure aesthetic sensation,” n; Rembrandt and the Italian Renaissance, ; Sachs Museum Course students addressed by, ; Saltwood Castle, , , ; at Villa I Tai, –, , , , ; Walker compared, , , ; Warburg and, , , –, ; wealth of, , ; Yashiro Yukio and, n Clark, Robert Sterling , –, –, , Clouet, François, , Cluny, abbey church of, , Cocteau, Jean, Cohen, Rachel, Coiano, Bartolomeo da, n Colby, Robert, , ,
Index
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Cole, Fay Cooper, Collingwood, R. G., , Colnaghi, Dominic, Colnaghi Gallery, London. See Gutekunst, Oo, and Colnaghi Gallery, London Colonna Madonna (Raphael), Columbus, Christopher, , Commissione di Storia Patria e Belle Arti, “A Comparative A nalysis of the Dances of Haiti ” (Dunham, /), e Concert (Vermeer), Concert Champêtre (Titian), Conconi, Luigi, , Conder, Charles, connoisseurship of Berenson, –; ambi valence of Bernard Berenson regarding, , n, , ; approach to study of art in fluenced by, , , –; critical reception and, , , –, ; teaching of, –, –; ree Essays in Method (Berenson, ) and, ; Warburg and, . See also Gardner, Isabella Stewart; Gutekunst, Oo, and Colnaghi Gallery, London; Morelli, Giovanni; Richter, Jean Paul Connors, Joseph, , , , , e Consecration (Magnasco), Constantine I the Great (Roman emperor), , e Construction of Lombard and Gothic Vaults (Porter, ), Conti, Angelo, Contini Bonacossi, Alessandro, , , , , , , Conversations with Berenson (Morra), , Coolidge, Baldwin, Coolidge, John, Coomaraswamy, Ananda K., Cooper, Edith (“Michael Field”), Corot, Jean-Baptiste-Camille, Costa, Enrico, –, , nn– Costelloe, Frank, , Costelloe, Mary. See Berenson, Mary Coster, Charles Henry, Count-Duke of Olivares (Velázquez), Crespi, Giuseppe Maria, – Creswell, Keppel Archibald Cameron, , , , Crispi, Francesco, Crivelli, Carlo, , – Crucifixion (del Fiore), Crucifixion with Saints (Puccio di Simone and Master of Barberino), n
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Index
Cruwell, Maud, cubism, , –, – Cumming, Carolyn, , , Cumming, Robert, , , , Cummings, Paul, Cunard, Nancy, Cvjetanin, Tatjana, Cyrenaicism, , – da Carpi, Girolamo, Daddi, Bernardo, Daitokuji paintings, exhibition, Boston Museum of Fine A rts (), –, Dalí, Salvador, Damascus, Great Mosque of, , – Dancing Girls of Kutcha (scroll painting, tenth–eleventh century), , , Dandolo, Andrea, n DAnnunzio, Gabriele, – Darnley, Lord, , , –, , Darwin, Charles, Davenport-Hines, Richard, Davies, Norman de Garis, n Davis, eodore M., , n De arte illuminandi (trans. and ed. ompson, ), De Marchi, Andrea G., , de Montesquieu, Count Robert, De rerum natura (Lucretius), Deacon, Gladys, e Death of the Gods (Nietzsche), Degas, Edgar, , , , , , Del Turco, Pellegrina, Delaunay, Robert, Demoiselles dAvignon (Picasso), Demoe, Georges, , , Denis, Maurice, , Deposition (van der Weyden), , Deprez, Edmond, , , n, , , n Derain, André, , Derrida, Jacques, Di Stefano, Dino, Diana, Benedeo, A Different Person (Merrill, ), Dionites, “Altamura,” and e Golden Urn, –, –, –, , –, , –, , –, . See also Altamura Garden Pavilion, Fenway Court Doetsch sale (), n Dolmetsch, Arnold, Donna Laura Minghei (da Vinci), Doria, Count,
Dormition and Assumption of the Virgin (Fra Angelico), Dörner, Max, Dossi, Carlo, Douglas, Robert Langton, , , , , Drawings of the Florentine Painters (Berenson, ), , , , , , n, , –, , , Drigo, Paola, Dufy, Raoul, Duky, Jean, – Duncan, Isadora, Duncan, Sally Anne, , – Dunham, Albert (brother), , Dunham, Albert (father), Dunham, Fanny June (mother), Dunham, Katherine, , –; age difference between Bernard Berenson and, –, ; as anthropologist, –; “A Comparative Analysis of the Dances of Haiti” (/), ; correspondence with Bernard Berenson, , , –, –, , , –; as dancer and choreographer, –, , –, –, , , ; death of (), ; family background, education, and career, –, –, –; first meeting with Bernard Berenson, ; Haiti and, , –, , ; paintings of, –; photographs of, , , ; race, social boundar ies imposed by, , , , n, –; relationship with Bernard Berenson, –, –, – , –; Southland (ballet), conflict with Bernard Berenson over, , –, , –; A Touch of Innocence (), ; Tropic Death (ballet), ; at Villa I Tai, , , , –, , , ; vodun, involvement with, , –, ; Yashiro Yukio and, Dunhuang, Caves of the ousand Buddhas, Western China, – Durand-Ruel, Paul (dealer), Dürer, Albrecht, , , , , Durkheim, Émile, Dussler, Luitpold, Duveen Brothers, Duveen, Henry, n Duveen, Joseph: Bernard Berenson as agent for, , , , , , , , , , ; Clark and National Gallery, ; Forestis and, , ; Gutekunst and Colnaghi Gallery, , , , –, , –; Hahn
lawsuit, ; Huntingtons and, –, ; rivalries between clients fomented by, ; ompson and, – Eastlake, Charles, , Egg (Brancusi), “Egg and Plaster” course of Edward Forbes, Harvard University, Egy pt: Bernard Berensons following of political events in, ; Bernard Berensons travels in, –, , , – Eibner, Alexander, Einfühlung , , Einstein, Lewis, Eisler, Robert, El Cid, Huntington translation of, , e Energies of Men (James, ), , Epicureanism, –, – “Epistle to the Americanized Hebrews” (Berenson, ), n Epochs of Chinese and Japanese Art (Fenollosa, ), “Essai dimitation de lestampe japonaise” (Cassa, ), Este, Isabella d, , , Estimé, Dumarsais, , Einghausen, Richard, –, – Europa (Titian), , , –, , Eye of the Beholder (exhibition, Isabella Stewart Gardner Museum, ), , Fabbri, Egisto, Fantin-Latour, Henri, Farhd va Šrn (Farhad and Shirin; Mulla Vahshi, early seventeenth century), fascism, , n, , –, , , n Fenollosa, Ernest Francisco, , , –, , , n Fenway Court. See Isabella Stewart Gardner Museum/Fenway Court Ferdowsi, , , , Ferguson, Wallace, Ferrari, Defendente, Fiedler, Konrad, , Field, Michael (Katherine Bradley and Edith Cooper), Figure in Landscape (arib. Loo), Fiocco, Giuseppe, , , , Fiorentino, Pier Francesco, n Flaubert, Gustave, – Florence, ca. , –, –; avantgarde, emergence of, , –, ,
Index
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–; Burckhardts historiographic concept of the Renaissance and, , –, , , –, ; as European Other, –; light of, –; literary salons and artistic circles, , –; May Troubles (), , ; modernism/ modernity and, , , –, , – , , –; “myth of Florence,” , –, ; noise levels in, –; “real” Florence, , –; scent of, –, , ; tactile values, concept of, ; Uhde and, –, , – Florentine Painters of the Renaissance (Berenson, ), , , , , , , , , , , n Florenz : Die Suche nach Arkadien (Roeck, ), Fogg Museum, Harvard. See Harvard University Forbes, Edward, , n, , –, , n, , , Foresti altarpiece (arib. Grimaldi), n Foresti, Carlo Alberto, , –; additions to Carpi civ ic collections and restoration of Castello Pio, , –; art collection of, , , , –; aributions and publications of Foresti paintings by Bernard Berenson, , , n, , , , , ; correspondence with Bernard Berenson, –; death of (), ; education, influences, and development as antiquarian and connoisseur, –; family background and fathers art collection, –, , , ; Fototeca Berenson used to trace collection of, , – , , , ; photograph of, ; relationship with Bernard Berenson, , –, , ; sale of fathers art collection (), –. See also Carpi Foresti, Erminia (wife), , Foresti, Luigi (ancestor, ), Foresti, Luigi (ancestor, ), Foresti, Luigi (son), Foresti, Pietro (father), , , –, , Forster, E. M., , Forti, Fermo, Forty Years with Berenson (Mariano, ), , “Four Gospels” (Berenson), , , . See also Central Italian Painters of the Renaissance; Florentine Painters of the Renaissance; North Italian Painters; e Venetian Painters of the Renaissance
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Index
Fourth Crusade, n Fra Angelico, , , “Fragment of the Nymph ” (Warburg, ), – France, Anatole, Franciosi collection, , Francis, Frances, Francis, Henry, Franciscan and Buddhist spirituality, Bernard Berensons comparison of, , –, , Freedman, Jonathan, Freer, Charles Lang, Freer Gallery, Washington, Freud, Sigmund, , , Frick, Henry Clay, and Frick Collection: Clark and Bernard Berenson on Bellinis St. Francis in the Desert, –; Gardner compared, ; Gutekunst and Colnaghi Gallery, , , , , , , –, n, ; Huntington, Arabella, and, Friedländer, Max, , n Friedrich, Caspar David, Frizzoni, Gustavo, , , , n, , , Fromentin, Eugène, Fromm, Erich, , , fruit-bearing girl, Warburg on, , Fry, Roger, , , , –, , Fujimaro, Tanaka, e Funeral of Patroclus (Aspertini), futurists, Gainsborough, omas, , –, Galilei, Galileo, Galton, Arthur, Ganz, Paul, Gardner, Isabella Stewart, –; artistic and cultural evolution of, –; Asian and Islamic collections of, , , , n, , , ; Bernard Berenson as agent for, , , , , , –, ; Choice of Books om the Library of Isabella Stewart Gardner, Fenway Court (), ; correspondence with Bernard Berenson, –, , –, , , , n, , , , ; financing of Bernard Berensons early European travels by, –, , , , ; on Greene, Belle da Costa, ; Gutekunst/Bernard Berenson/Gardner, triangular relationship between, , , , , , –, –; Huntingtons and, , , ; Matisse, appreciation of, ; Pole-Carew Holbein
scandal, –; Sargent portrait, ; Stuart dynasty and, , ; Villa I Tai, visit to, ; Yashiro Yukio and, , n, n. See also Altamura Garden Pavilion, Fenway Court; Isabella Stewart Gardner Museum/ Fenway Court Gardner, John Lowell (“Jack”; husband), n, , , , Gardner Museum. See Isabella Stewart Gardner Museum Garstang, Donald, Garton, John, – Gates, Helen Manchester, Gauguin, Paul, Geertz, Clifford, Geffcken, Johannes, n Gellhorn, Martha, Gemäldegalerie, Berlin, nn–, , , , – Gems of the Manchester Art Treasures Exhibition (Colnaghi and Agnews, ), Genees, Madame Roger des, – Genga, Girolamo, Gerini, Niccolò di Pietro, , , , Germany, Bernard Berenson on “Orientalization” of, “Ghazel: ought and Temperament” (poem; Berenson), , – Ghirlandaio, Domenico, , , , Giambono, Michele, St. Michael Archangel Enthroned (–), , , , – Gibbon, Edward, Gide, André, Ginori, Richard, Giorgei, Alceste, Giorgione, Giorgio Barabelli da Castelfranco, , , , –, , n Gioo di Bondone, , , , , , , , Giovanni di Paolo, Glaenzer, Eugene, Gli Anglo-Americani a Firenze (Fantoni, ), Gli indifferenti (Moravia), Glucksmann, Carl, Gobei, Piero, , , , , n Gobineau, Arthur de, Goethe, Johann Wolfgang von, , , –, e Golden Urn (periodical), “Altamura,” and Dionites, –, –, –, , –, , –, , –, . See also Altamura Garden Pavilion, Fenway Court
Goldman, Henry, Goldman Sachs, Goldschmidt, Adolph, Gombrich, Ernst, , n, , , n, , , n, Gondola Days (exhibition, Isabella Stewart Gardner Museum, ), e Gospel of Freedom (Herrick, ), Gospels of Anarchy (Lee, ), Gothic Revival, , , , , e Gothic Revival (Clark, ), , Goupil et Cie, – Grabar, Oleg, Granville-Barker, Harley, n Gray, Simon, Great Kanto Earthquake (), , Great Mongol Shahnama (Ferdowsi): ca. manuscript of, , , ; ca. – manuscript of, , Greene, Belle da Costa, , , , , , , , Greener, Richard eodore, Greenslet, Ferris, n Gregorovius, Ferdinand, Grimaldi, Lazzaro, n Gronau, Georg, , n, Grossi, Carlo, Grousset, René, Guardi, Francesco, , , Guéraut, Robert, n Guercino, Giovanni Francesco Barbieri, , Guernica (Picasso), Guicciardini, Francesco, Gulbenkian, Calouste, Gurney, Edmund, , Gutekunst, Heinrich G. (father), – Gutekunst, Lena Obach (wife), , , , , , Gutekunst, Oo, and Colnaghi Gallery, London, , –; American market and, , , –, –; background and early career, –; Bernard Berenson as agent for, , , ; Berenson, Mar y, and, –; British aristocracy, purchases of paintings from, –, –; Carstairs and, n, , ; death of Gutekunst, ; Duveen and, , , , –, , –; first meeting with Bernard Berenson, n, ; Gardner/Bernard Berenson/Gutekunst, triangular relationship between, , , , , , –, –; Great Depression, retirement of
Index
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Gutekunst and World War II, , –; Grii portrait, contention with Bernard Berenson over aribution of, –, , –; Holbein affair, –, , , ; Old Bond Street offices, ; as Old Master dealer, –; Pall Mal l East offices, , n, n, ; Partridge Building offices, –, , ; photograph of, ; relationship between Bernard Berenson and Gutekunst, –, –; before and during World War I, – Gutekunst, Richard (brother), Hadley, Rollin Van N., , Hafez, , Hahn lawsuit, Hall, Nicholas, Hals, Franz, Halsted, Isabel Hopkinson, Hamilton, Carl, n Hamilton, George Heard, Hand, Learned, “Hans Across the Sea” ( Punch cartoon, ), , Hardwick, Elizabeth, n Hare, Augustus, n Harris, John, Harvard Monthly, , Harvard University: Bernard Berensons education at, , , –, ; China Expeditions, –; “Egg and Plaster” course of Edward Forbes, ; Museum Course, Fogg Museum, , , –, –, , –, , ; Parker Traveling Fellowship, rejection of Bernard Berensons application for (), , , n, –, n; Porter appointed to research professorship at, ; Porters art collection at Fogg Museum, ; ompson at, –; Vil la I Tai bequeathed to, , , , , , ; Warburgs interest in connection with, , –; Yashiro Yukio and, – Haskell, Francis, Hazli, William, , Head of nada (Javanese, eighth–eleventh century), , , Hegel, Georg Wilhelm Friedrich, , , , – Heimann, Jacob, , Heinemann, Fritz, , , , Hemingway, Ernest, Hemingway, Mary,
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Index
Hendrie, Robert, Hendy, Sir Philip, Hercules Strangling Antaeus (Pollaiuolo), , Herskovits, Melville, , – Herodotus, Herrick, Robert, , Herringham, Lady Christiana, Hesse, Hermann, , Heydenreich, Ludwig Heinrich, Hildebrand, Adolf von: Clark on, ; in Florence, , , ; forms, theory of, , , , –, , ; Lisl von Herzogenberg Playing the Organ (plaster cast relief; ), , ; photograph of, ; Das Problem der Form in der bildenden Kunst (), , –, , , ; on tactile values, , –, , , , , , ; Warburg and, , Hildebrand, Lisl (later Brewster; daughter), , , , , Hill, Constance Valis, Hill, Derek, Hillenbrand, Robert, Hinks, Roger, , Hiroshige, And, Hispanic Society of America and Archer Huntington, , , , Histoire de France (Michelet, ), History of Aesthetic (Bosanquet), n History of Greek Culture (Burckhardt), e History of Philosophy (Hegel), Hitchcock, Henry Russell, Hokusai, Katsushika, , –, Holbein, Hans, , , , , –, , Holiday, Billie, Holmes, Charles, Holroyd, Charles, Holy Family (formerly arib. Mainer i), Holy Family with Saint John (Mantegna), Holy Land (Palestine and Syria), Bernard Berensons “pilgrimage” to, , , , n homosexuality: Clark believed by Bernard Berenson household to be gay, ; Hafez love poems, Bernard Berensons amazement of celebration of men in, ; of Uhde, Hope Collection, Horne, Herbert, , , , , , , Horowitz, Vela, “house of life,” , Howard, Jeremy, , , Huizinga, Johan,
Hunting ton, Anna Vaughan Hya (second wife), n, , , Hunting ton, Arabella (mother), , – Hunting ton, Archer, , –; art collections of parents of, –; Bernard Berensons membership in A merican Academy of Arts and Leers and, , –; El Cid translation of, , ; correspondence with Berensons, –, , , , –; death of (), , ; education and intellectual accomplishments, , –, , ; first meeting between Berensons and, –, ; Hispanic Society of America and, , , , ; marriages of, ; Mayor diary and, , n, –, ; photograph of, ; typewriter given to Mary Berenson by, ; wealth of, – Hunting ton, Collis P. (biological father/ stepfather), , –, n Hunting ton, Ellen Maria (aunt), n Huntington, George, Hunting ton, Helen Manchester Gates (first wife/cousin), Hunting ton, Henry E. (cousin/stepfather), n Hutchins, Robert Maynard, , Huon, Edward, Hyde, Louis F., n Hyman, Isabelle, , , I Tai. See Villa I Tai ibn-Khaldun, Ikonologie, Warburgs concept of, , n An Illuminated Life (Ardizzone, ), impressionism, –, , .See also specific artists Imrul Qays, , In the Palace, or Ladies of the Court (Kongzhong tu), n Innocence (formerly arib. Franceschini, now School of Guido Ren i), International Conference of , Florence, Isabella Stewart Gardner Museum/Fenway Court: aerial photograph (), , ; Asian art collection compared to Villa I Tai, ; commemorative elements of, ; “cultural re-enchantment,” total design of Fenway Court as expression of, –, , ; design and construction of, –, ; Dionites, “Altamura,” and e Golden Urn as inspiration for, ; Eye of the Beholder (exhibition, ), , ; Gondola
Days (exhibition, ), ; Journeys East: Isabella Stewart Gardner and Asia (exhi bition, ), ; Old Masters paintings at, , ; Palazzo Barbaro, Venice, and, , –; photographs of, , ; public mandate of, . See also Altamura Garden Pavilion, Fenway Court Islamic art and culture, –, –; aestheticism and, –, ; architecture, Islamic, Bernard Berensons interest in, , –, , ; Armenian miniatures, Bernard Berensons brief interest in (ca. ), n; collected by Bernard Berenson (–), , –, , – , ; Damascus, Great Mosque of, , –; defined, –; education of Bernard Berenson in Oriental studies and, –, ; Greco-Roman and Byzantine culture, viewed as witness to, , –, ; library at I Tai, Asian and Islamic collection of, –, , –, –, ; Munich exhibition of Islamic art (), , , –, ; Orientalism and, –, , –, , n; Orne translations of Arab poems, –, ; political views of Bernard Berenson on, n, –; popularity at turn of the centu ry, –; “thought and temperament” reflecting duality of Bernard Berensons approach to, , –; travels of Bernard Berenson in Islamic world, –, –, , , –, ; views of Bernard Berenson in later years, – Israel, Bernard Berensons views on, n, – Israëls, Machtelt, , Italian Art Exhibition, London (), Italian Journey (Goethe, –), – Italian Painters of the Renaissance (Berenson, ), , , , , , , , , , Italian Pictures of the Renaissance (Berenson), , , , Italy, art export laws in, Ivins, William M., Jr. (“Billie”), , Jacob Blessing the Sons of Joseph (copy of Guercino, before ), James, Henry, , , , , , – James, William, , , , , , –, , –, , James, William, Jr.,
Index
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Janson, Horst W., Japanese art. See Asian art Jarves collection, Yale University: cassone panel from, aribution of, , , , –, , ; Porter and, , , ; Siréns catalog of, , al-Jazari, , , Jewishness of Bernard Berenson, , , , , n, , , , , –, Johnson, John G., n, n Jolles, André, , Jolli, Antonio, Joni, Icilio Federico, –, – Journeys East: Isabella Stewart Gardner and Asia (exhibition, Isabella Stewart Gardner Museum, ), , Justi, Carl, n Kahn, Addie (Mrs. Oo H.), Kahn Collection, Kahn, Rodolphe, Kahnweiler, Daniel-Henry, , Kandinsky, Vassily, Kann, Rodolphe, Karageorgevic, Prince Paul and Princess Elizabeth, KBW (Kulturwissenschaliche Bibliothek Warburg), , , , , Keats, John, Kelekian, Dikran, Khayyam, Omar, n Kiel, Hanna, Kirstein, Lincoln, Kitb f marifat al hiyl al-handasiyya ( Book of Knowledge of Ingenious Mechanical Devices; al-Jazari, ), , , Klee, Paul, – Klinger, Max, Knoedler & Co., , n, , –, –, , , Kokoschka, Oskar, Kollwitz, Käthe, Krin, Ogata, , Krautheimer, Richard, Kress, Samuel H., and Kress Collection, , , , n, Kristeller, Paul Oskar, Kühnel, Ernst, n, kulturwissenschalich (cultural-scientific) approach of Warburg to study of art, , Kulturwissenschaliche Bibliothek Warburg (KBW), , , , ,
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Index
Kunstreligion, Kunstwollen, Kuroda Seiki, Viscount, n Kurz, Isolde, , La Farge, John, Labidh, Lacasse, Natalie, Landi, Elisabea, , , Landi, Neroccio di Bartolommeo de, Landscape into Art (Clark, ), Lanham, Charles Rockwell, Laparelli di Lapo, Pirro, Larciani, Giovanni, Laurati, Giorgio, Laurencin, Marie, Laurie, Arthur Pillans, , Lazzaroni, Barone Michele, Lazzoni, Tommaso, Le Corbusier, Charles-Édouard Jeanneret, Leclerc, Charles Victor Emmanuel, Lee, Vernon (Violet Paget): Bernard Berenson on Arabic verse and, ; “Beauty and Ugliness” (), n, –; concept of personhood and aesthetics of, ; on Einfühlung , , ;Gospels of Anarchy, ; Mayor, A. Hya, on Bernard Berenson and, ; in Mayor journal, ; photograph of, ; plagiarism charge against Bernard Berenson (), , ; tact ile values and, , n, , , , –, “legend of the artist,” Lehman, Robert, Lehmann, Rosamond, Leland, Charles Godfrey, Leo X (pope), Leonardo da Vinci: Belle Ferronière, ; Clark and, , , , ; Donna Laura Minghei, ; Freuds engagement with, ; Mona Lisa , ; Richters edition of notes and manuscripts of, , , , n; tactile values and, ; Warburg on, n, ; woodworm in panel of, Leonardo da Vinci (Clark, ), , , Lessing, Julius, Lévi-Strauss, Claude, Lewis, Katie, Il libro dellarte (Cennini, late fourteenth century), , , , , , , Libya: Bernard Berenson on Italian campaign in, ; Bernard Berensons travels in, , Lichtenstein, Prince of,
Lippi, Filippino, , , , , Lippi, Fra Filippo, n Lippmann, Walter, Lisl von Herzogenberg Playing the Organ (Hildebrand), , lists compiled by Bernard Berenson: Altamura and Dionites, , ; cr itical reception and, , , –, ; Gutekunst and, , ; publication in , –; viewed as distraction from other work , Lochoff, Nicholas, Loeser, Charles, , , n, , , Lohan Demonstrating the Power of the Buddhist Sutras to Daoists (Zhou Jichang, ca. ), , Lombard Architecture (Porter, –), n, – Longhi, Roberto, , , , , , , –, n, Looking at Pictures with Bernard Berenson (Brown, ), Lorenzei, Lorenzo Loo (Berenson, ), –, Loschi, Bernardino, , Loo, Lorenzo, –, , , , , Loves, Maeo, Löwy, Michael, Lucretius, De rerum natura, Ludwig II of Bavaria, Luther, Martin, lynching, as topic of Dunhams Southland, – Lyon, David Gordon, Machiavelli, Niccolò, , Maclagan, Eric, n Macridy, Teodor, n Madonna (Gioo), , Madonna and Child (Bellini), Madonna and Child (Gerini), , Madonna and Child and St. Nicholas of Tolentino (Loschi), Madonna and Child with Sts. John the Bapt ist and Jerome and Donors (Nelli), Madonna and Child with the Infant St. John the Baptist (arib. Sassoferrato), Madonna and Child with the Young St. John the Baptist (arib. Titian), Madonna del Lae (Landi), Madonna dellOrto (Bellini), Madonna of Bergamo [Madonna Lochis] (Bellini), Madonna of the Euchar ist (Boicelli), , ,
“e Madonna of the Fut ure” (James), – Madonna of the Pinks (formerly arib. Raphael), Madonna with Child (aer Rondinelli), Madonna with Child and the Young St. John the Baptist (Bagnacavallo), Madonna with the Standing Child (Circle of Bellini), Magnasco, Alessandro, , Maineri, Gianfrancesco, Malaspina monument, n Malatesta, Adeodato, , Mâle, Émile, Malevich, Kazimir, Malinowski, Bronisław, Mallet, Lady, , Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo (Titian), formerly called “Ariosto,” , Mandarina (DAnnunzio, ), Manet, Édouard, , , Mann, Heinrich, Mann, omas, , Mantegna, Andrea, , , , , , – Maraini, Dacia, Maraini, Fosco, , Maramoi, Bosi, Marai, Carlo, Marco del Buono Giamberti, , , Marconi, Rocco, , Mardrus, J. C., Marées, Hans von, , , , , Marghieri, Clotilde, , –, Mariano, Elisabea “Nicky”: on Bernard Berensons sense of Jewishness, n; on Clark, , ; correspondence of Bernard Berenson and, ; in Dunham leers, , , ; Foresti correspondence and, , , , , ; German fluency of, ; Islamic art and culture, Bernard Berensons interest in, n, , , nn–, n; Jamess Energy of Men and, ; on loves in Bernard Berensons life, , , ; Mayor, A. Hya, and, , –, ; Morra and, –, ; Porters and, ; privacy of Bernard Berenson protected by, ; running of I Tai aer death of Mary Berenson by, ; travels with Bernard Berenson, , , , n; Warburg, on Bernard Berensons visit to, , , ; on Yashiro Yukios Years of Japanese Art,
Index
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Mariee, Pierre-Jean, Marini, Remigio, Marius the Epicurean (Pater, ), –, Marlowe, Christopher, Marr, omas, Marriage of St. Catherine (Bicci di Lorenzo), Martin, Fredrik Robert, Mary, Queen of Scots, , Il Marzocco (periodical), , Masaccio, , , Masekela Language (ballet; Ailey), Masolino da Panicale, , , Mason Perkins, Frederick, , , , , , , Massignon, Louis, n, , Master of Barberino, n Master of Virgils Aeneid, , –, e Materials and Techniques of Medieval Paintings (ompson, ), –, Matisse, Henri, , , , , , May Troubles, Florence (), , Mayer, Gustavus, , , , –, , Mayer, Leo Avy, n Mayor, A. Hya, , n, –, Mazaroff, Stanley, McCauley, Anne, McKay, William, , –, , , , n, , McKayle, Donald, Mead, Margaret, Meder, Joseph, Medici family, , Medici, Lorenzo de (Lorenzo the Magni ficent), , Medici, Piero de, Medieval Architecture (Porter, ), medieval period, reviva l of interest in, , Meeks, Evere, Meissonier, Jean-Louis-Ernest, Melius, Jeremy, Mellon, Andrew W., – Memling, Hans, Menafoglio, Marchese, Merrifield, Mary Philadelphia, Merrill, James, Merry del Val, Rafael (cardinal), Métraux, Alfred, Metsu, Gabriël, Meyer-Riefstahl, Rudolf, , , , n, , n, , Michelangelo, , , , , , Michelet, Jules,
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Index
Mickleshanski, Judith (mother of Bernard Berenson), Millais, John Evere, Milton, John, , , Mnemosyne Atlas (Warburg, s), , Moceo, Girolamo, modern art: avant-garde, Florence and emergence of, , –, , –; Berna rd Berensons aitudes toward, , , , , , , , –; cubism, , –, –; futurists, ; impressionism, –, , (See also specific artists) modernism/modernity and Florence, ca. , , , –, , –, , – Mohammed, Bernard Berenson on, , , Moments of Vision (Clark, ), , Mona Lisa (da Vinci), Monaco, Lorenzo, Mond, Ludwig, n, , Monet, Claude, Monte Oliveto Maggiore, , –, Montefeltro, Federico da, Count of Urbino, , n Montesquieu, Count Robert de, Monument to General Manedo Fanti, model of (Trubetzkoy), Moore, Henry, , Morassi, Antonio, Moravia, Alberto, n, , – Moravia, Elsa, Morelli, Giovanni: anti-Jewish sentiments of, n; Bernard Berenson and, , –, , , ; on Bode, ; Foresti, Carlo Alberto, and, ; Richter and, , –, n; studies of scientific connoisseurship of, ; Warburg and, , , , , ; Yashiro Yukio on, Morgan, J. P., , , , , , Morisot, Berthe, Moroni, Giovan Baista, , , Morra di Lavriano, Count Roberto (father), Morra di Lavriano, Count Umberto, , –; character and personality of, –, , ; Clark and, , n; Conversations with Berenson () , , ; family background, education, and early life, –, ; fascism, opposition to, , –, , , n; on Frizzoni and Bernard Berenson, ; Moravia and, n, , –; photographs of, ,
, ; relationship with Berensons, –, –; tactile values and, ; at Villa I Tai, –; Villa Morra, Metelliano, Cortona, , , , Mortimer, Raymond, Mosaddeq, Mohammad, Mostyn-Owen, William, –, , –, , n, n, Muallaqt, , Muir, William, Munich exhibition of Islamic art (), , , –, , Müntz, Eugène, Museum Course, Fogg Museum, Harvard, , , –, –, , –, , museum ethics, Museum of Fine Arts, Boston, Mussolini, Benito, Muther, Richard, Muzzioli, Giovanni, –, Mystic Marriage of St. Catherine (Zaganelli), Mystic Marriage of St. Francis (Sassea), n NAACP (National Association for the Advancement of Colored People), NACF (National Art Collections Fund), Naples Manuscript , published as De arte illuminandi (Naples, Biblioteca Nazionale), Nash, Paul, Nasser, Gamal Abdel, National Art Collections Fund (NACF), National Association for the Advancement of Colored People (NAACP), Nativity (Loschi), Nazism, Bernard Berenson on, – Nelli, Oaviano, Nelson, Jonathan K., , “e New Art Criticism,” New Deal, New eory of Vision (Berkeley, ), n Newhall, Beaumont, Nietzsche, Friedrich Wilhelm, , , – , , , , , Nivedita, Sister, Margaret Elizabeth Noble, Nöldeke, eodor, Norfolk, Duke of, , North Italian Painters (Berenson, ), n, n, n, Norton, Charles Eliot, , , , , , –, –, , , – e Nude (Clark, ), , ,
Obach family, , , Oberlin cassone (Apollonio di Giovanni), Obrist, Hermann, , , Offner, Richard, , , , Okakura Kakuzo, , , , e Old Man and the Sea (Hemingway, ), e Old Masters (play; Gray), Olmsted, Frederick Law, –, Olympia (Manet), , One ousand and One Nights, Bernard Berensons fondness for, , n, One Years Reading for Fun (Berenson, ), Order of the White Rose, Orientalism, –, , –, , n Original Treatises on the Arts of Painting (Merrifield, ), Origo, Iris, –, Orleans Collection, Orne, John, Jr., –, Orsi, Lelio, Orsini, Prince, otium, Oxford Movement, Oxford University, , , , , , Pagan Sacrifice (panel, arib. Rober ti/School of Mantegna/Bellini), – Pagan Sacrifice (pendant at Saltwood Castle), Paget, Violet. See Lee, Vernon Paine, Robert Treat, Palazzo Barbaro, Venice, , – Palestine and Syria, Bernard Berensons “pilgrimage” to, , , , n Palladio, Pallas and the Centaur (Boicelli), Palma il Giovane, Jacopo, Palmezzano, Marco, Pancrazi, Pietro, , Panofsky, Erwin, , Panciatichi, Marchese, Papafava, Francesco, and Papafava family, n, Parker Traveling Fellowship application, rejection of (), , , n, –, n Partridge, Ethel (later Mairet), passatism, Passerin dEntrèves, Alessandro, , , Passerini, Count Lorenzo (“Renzo”), n,
Index
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Passerini, Lyndall, Pater, Walter: Bernard Berenson in fluenced by, , , –, , , , , , ; Bernard Berenson unable to gain entrance to Oxford class of, ; on Boicelli, ; Clark influenced by, , ; Dionites, “Altamura,” and e Golden Urn, ; on Florence, , ; on Galton, ; Gardner and, , ; Marius the Epicurean (), –, ; Norton on, ; Porter influenced by, ; e Renaissance: Studies in Art and Poetry (), , ; Richter and, ; Smith, Logan Pearsal l, influenced by, Patridge, Bernard, “Hans Across the Sea” ( Punch car toon, ), , Payne, John, Pelham-Clinton-Hope, Lord, – Perowne, Stewart, Perugino, Pietro, Pesaro altarpiece, Pesellino, Francesco, Philip II of Spain, –, e Philosopher (Circle of Ribera), photographs, scholarly use of, , –, , Il Piacere (DAnnunzio, ), – Picasso, Pablo, , , – Piemontesi, Angelo, Piero della Francesca, , , , , , , , Piero della Francesca (Clark, ), , Pietà (Raphael), , Pietro Leopoldo (archduke), Pignai, Terisio, Piloty, Karl eodor von, Piombo, Sebastiano del, Piper, John, Pissarro, Camille, Pitati, Bonifazio de, Piure italiane in America (Venturi, ), Placci, Carlo, , n, n, , , plagiarism charge by Lee against Bernard Berenson (), , Planiscig, Leo, Platonism, , Pla, Dan Fellows, n Pole-Carew Holbein scandal, – Pollaiuolo, Antonio, , , Pomare, Eleo, Pomian, Krzysztof, Pope-Hennessy, Sir John, n, Porter, Arthur Kingsley, –, –; art collection of, , ; background,
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Index
education, and career, –, ; Beyond Architecture (), ; books sent to Bernard Berenson by, n , –; “Burgundian Heresy” of, –; e Construction of Lombard and Gothic Vaults (), ; critical approach to intellectual biography of, need for, –; death of (), , n; first meeting between Bernard Berenson and (), –; intellectual cross-fertilization between Bernard Berenson and, –, ; Lombard Architecture (–), n, –; Medieval Architecture (), ; as medievalist, –, –, , ; overlooked connections to Bernard Berenson, –, –; photographs of, , , ; Romanesque Sculpture of the Pilgrimage Roads (), –, –, –, –; Spanish Romanesque and pilgrimage practices, Bernard Berenson inspiring turn to, –; travels with Bernard Berenson, , –, ; Villa I Tai and, –, –, ; war-damaged French medieval churches, study of, , , –; Warburg and, , , Porter, Lucy Kingsley (wife), , , –, , , –, , , n, Portrait of a Friar (arib. Caroto), Portrait of a Gentleman (Moroni), Portrait of a Lady (arib. Piero della Francesca), Portrait of a Young Artist (School of Rembrandt), n Portrait of a Young Man (Giustiniani Portrait; Giorgione), Portrait of Alfonso dEste (arib. Titian), Portrait of Anna Vaughan Hya (Mrs. Archer Hunting ton) (Allen), Portrait of Aretino (Titian), , Portrait of Ciro Menoi (Malatesta), , Portrait of Collis P. Hunting ton (Shaw), Portrait of Dama (formerly arib. Veronese, now Circle of Paris Bordone), , – Portrait of Edward VI (Holbein), Portrait of Girolamo (?) Barbarigo or Man with a Quilted Sleeve (Titian), formerly called “Ariosto,” , Portrait of Hendrickje Stoffels (Rembrandt), Portrait of Isabella Stewart Gardner (Sargent),
Portrait of Laura Dianti (arib. Sebastiano del Piombo, aer Titia n), Portrait of the Doge, Andrea Grii (Catena, formerly arib. Titian), –, , – Portrait of the Earl of Arundel (Rubens), Portrait of the Family of Adeodato Malatesta (Malatesta), Post, George B., postage stamps, Warburgs presentation on (), , , Pound, Ezra, Power of Sound (Gurney, ), Praeterita (Ruskin), Pra, John (husband of Katherine Dunham), , Pra, Marie-Christine Dunham, Pre-Raphaelites, , , Preacher Anslo and His Wife (Rembrandt), Preti, Maia, Previtali, Andrea, , primitivism, –, Primus, Pearl, e Principles of Art (Collingwood, ), Principles of Psychology (James, ), –, , n, Das Problem der Form in der bildenden Kunst (Hildebrand, ), , –, , , Prophet (Circle of Ribera), Proust, Marcel, Puccio di Simone, n Punt e Mes, n Purple Beeches (Matisse), Puvis de Chavannes, Pierre, , Queen of the Air (Ruskin), race: Bernard Berensons feelings about, n; social boundaries imposed by, , , , n, –. See also Dunham, Katherine; Greene, Belle da Costa Radcliffe-Brown, Alfred, Rainbow ‘Round My Shoulder (ballet; MacKayle), Ranieri, Guidagnolo di, , , n Raphael, , , , , , , , Al-Ras il (“Treatises,” known as Anthology; Prince Baysunghur, ), , , , – Redfield, Robert, , , Redon, Odilon, Redslob, Edwin, n, n Reformation, Hegels theory regarding, –
Reinach, Salomon, Rembrandt and the Italian Renaissance (Clark, ), Rembrandt van Rijn: Aristotle with a Bust of Homer, ; Bernard Berenson on, ; Clark and, , ; Gutekunst and Colnaghi Gallery, n, , , , , , , , ; Huntington, Arabella, and, ; Portrait of a Young Artist (School of Rembrandt), n; Portrait of Hendrickje Stoffels, ; Preacher Anslo and His Wife, ; Self-Portrait, , ; Uhde on, Renaissance, as historiographic concept, – e Renaissance: Studies in Art and Poetry (Pater, ), , Renan, Ernest, Reni, Guido, Renoir, Pierre-Auguste, , Reperusals and Re- Collections (Logan Pearsall Smith, ), n Revenge of Procne (aer Veronese), Ricci, carteggio in Biblioteca Classense, Ravenna, Ricci, Corrado, , , , , , Richardson, Jonathan, Richter, Jean Paul, , –; anti-Jewish sentiments of, n; background and career, –; as connoisseur, –, ; Gutekunst and Bernard Berenson, meeting between, , ; Leonardo da Vinci s notes and manuscripts, as editor of, , , , n; Mond, Ludwig, and, n, , ; Morelli and, , –, n; photograph of, ; relationship with Bernard Berenson, –; St. Michael Archangel Enthroned (Giambono) and, , , , –; at San Felice Circeo, n; si lence of Bernard Berenson regarding, , – Riegl, Alois, , , , Rilke, Rainer Maria, , , , , Rinascimento Americano (Troa, ), Road of the Phoebe Snow (ballet; Bea y), Road to Calvary (arib. Roberti), Roberti, Ercole de, , , Rocke, Michael, Rodin, Auguste, , Roeck, Bernard, –, , Rokeby Venus (Velázquez), Romanesque Sculpture of the Pilgrimage Roads (Porter, ), –, –, –, – Romanino,
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romanticism-as-worldview, , , , Rondinelli, Niccolò, A Room with a View (Forster, ), Rorimer, James, Roscoe, William, Rosenberg, Léonce Alexandre, , n Ross, Denman, , , , , –n Ross, Janet, n Rossei, Dante Gabriel, Rossi, Lelio, Rostovtzeff, Michael, Rousseau, Henri, – , , , , Rubbiani, Alfonso, Rubens, Peter Paul, Rubin, Patricia, , e Rudiments of Connoisseurship (Berenson, ), , , Ruffino family, Rumour and Reflection (Berenson, ), Runge, Philipp Oo, Rural Scene (Pissarro), Ruskin, John: Bernard Berenson influenced by, , , , –, ; Clark influenced by, , , , –; Dionites, “Altamura,” and e Golden Urn, , ; Florence, ca. , and, , , , , , , , ; Foresti, Pietro, and, ; Gutekunst and, ; Porter influenced by, ; Praeterita, ; Queen of the Air, ; on technical aspects of art, n; Warburg and, Russell, Bertrand, Russell, John, Sachs, Paul, , – ; as art collector, ; Asian art and, ; background, education, and career, ; books of Bernard Berensons used by, –; Clark and, ; connoisseurship, teaching of, –; correspondence with Bernard Berenson, –, ; Museum Course, Fogg Museum, Harvard, , , –, –, , –, , ; photographs of, , ; similarities to and differences from Bernard Berenson, –; twelh-century art, Bernard Berensons interest in, ; Walker and, –, ; Warburg and, , Sacred and Profane Love (Titian), e Sacrifice of Abraham (carved capital from abbey church of Cluny), , Said, Edward, n St. Catherine of Alexandria (Vivarini), Sts. Filippo Neri and Joseph (Loves),
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St. Francis and the Wolf of Gublio, St. Francis in Glory (Sassea), , St. Francis in the Desert (Bellini), – St. Jerome (arib. Biagio dAntonio), – Sts. John the Baptist and Mahew (Bicci di Lorenzo), –, St. Luke (Pierpont Morgan Libra ry), , St. Mark (ompson), , St. Michael Archangel Enthroned (Giambono), , , , – St. Peter and Saint Paul (Lazzoni), St. Peter Martyr, St. Augustine (?), St. John the Baptist, and St. Stephen (Carpaccio), St. Sebastian (arib. Signorelli/Genga), Salting, George, Saltwood Castle, , , Saltzman, Cynthia, , , n, n, n, Salvemini, Fernande, Salvemini, Gaetano, , Sammarini, Achille, Samson Destroying the Temple (Jolli), Samuels, Ernest, –, , , n, n, n, , San Francesco, Arezzo, Piero della Francescas frescoes in, San Giobbe altarpiece, San Pietro outside Spoleto, facade of, , Sandro Boicelli (Yashiro Yukio, ), , –, Sano di Pietro, Sargent, John Singer, , n, – Sarre, Friedrich, , , ,, n Sassea: Asian art, Bernard Berensons interest in, and Borgo San Sepolcro altarpiece of, –, , , , , , n, ; Bernard Berensons study of, n; Clark to Bernard Berenson on panels National Galler y intended to buy, –; Mystic Marriage of St. Francis, n; St. Francis in Glory, , Sassoferrato, Giovanni Baista Salvi da, Sassoon, Lady, Satsuma ware, –, Satyrs and Marine Deities with Musical Instruments (Circle of Mantegna), – Savonarola (drama; Uhde), Saxl, Fritz, , Sayre, Robert, Scala, Bartolomeo, Scarsellino (Ippolito Scarsella), Schapiro, Meyer, –, , Schedula (eophilus), , ,
Schiff, Jacob H., Schmarsow, August, Schongauer, Martin, Schopenhauer, Arthur, , , Schubring, Paul, Sciltian, Gregorio, – Sco, Henry, Sco, Mary NcNeill, Sears, Sarah Choate, Sears, Willard T., , , , , n, Secrest, Meryle, , n, , , n, , Secretum Philosophorum, Seidel, Linda, n Self-Portrait (Rembrandt), , Self-Portrait in His Studio (Crespi), Self-Portrait with Donors (Walker), Seligman, Edwin R., Seligmann, Arnold, , Seljuk architecture, Semper, Hans, , , Senghor, Léopold, Serbia, Bernard Berensons travels in, Serristori, Countess Hortense, , Seurat, Georges, Severini, Gino, Seybold, Dietrich, , , n, Shapley, Fern Rusk, n, , Shaw, James Byam, , n, , Shaw, Stephen William, Sicily, Bernard Berenson in, Signorelli, Luca, Simonds, Edith, Simpson, Colin, n Simpson, Joseph, Simpson, Mariana Shreve, – Sirén, Osvald, –, , Siro, Prince Giovanni, Sismondi, Simonde de, -Odd Provinces (Hiroshige), Sketch for a Self-Portrait (Berenson, ), , –, , –, –, , n, n, n Smith, Alys, Smith, Logan Pearsall, , , –, , , –, –, , Snake Charmer (Rousseau), Soissons Cathedral, “ Something Has Turned Up” (Westminster Gazee car toon, ), , Sontag, Susan, , Soucek, Priscilla, Southern Landscape (ballet; Bea y),
Southland (ballet; Dunham), , –, , – Spain, Bernard Berensons travels in, Spätrömische Kunst-Industrie (Riegl), Spencer, Stanley, Speranzeva, Ludmilla, Spinelli, Alessandro Giuseppe, Sprenger, Aloys, Sprigge, Sylvia, , , stacco, Stark, Freya, e Statuee and the Background (Brewster, –), Stechow, Wolfgang, Stefano da Verona, Stein, Aurel, Stein, Leo and Gertrude, , Stimilli, David, n Stormy Weather (film, ), Story of Damon, four pastoral scenes (Previtali), –, n Strange Fruit (song), – strappo, , Strauss Madonna (Jacopo Bellini), – Strehlke, Carl Brandon, , –, , , Strozzi, Carlo, Suida, William, Sutherland, Graham Vivian, Suon, Denys, –n Swarzenski, Georg, Symonds, John Addington, Syria and Palestine, Bernard Berensons “pilgrimage” to, , , , n Tacitus, tactile values, –, –; Asian art and, , ; Bernard Berensons discovery of, –, , –; Brewster and, –, , ; in Florentine Painters of the Renaissance (Berenson, ), , , , , , ; Hildebrand and, , , –, , , , , , ; James, William, and, , , , , –, , –, , ; Lee and, , n, , , , –, ; Morra and, ; Nietzsches influence on Bernard Berenson and, , , –, ; Porter on, ; public reception of concept of, Taine, Hippolyte, Tale of Genjii, Taliesin, –
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Talmud, Bernard Berensons references to, n, Taylor, Alicia Cameron, n Taylor, Francis Henr y, technical aspects of art: Ber nard Berensons lack of interest in, , , – ; Il libro dellarte (Cennini, late fourteenth centur y), , ; in Museum Course, Fogg Museum, Harvard, ; wall paintings, removing, , , –. See also ompson, Daniel Varney, Jr. ter Borch, Gerard, Terk, Sonja, eocritus, eophilus, , , e eories of Anarchy and of Law (Brewster, ), eosophy, n ode, Henry, ompson, Daniel Varney, Jr., –, –; on art appreciation, , ; career of, –, , –, ; Cennini and, , , , , , , ; correspondence with Bernard Berenson, –, –; De arte illuminandi (), ; death of, ; education of, –; Hahn lawsuit, involvement in, ; lack of interest of Bernard Berenson in technical aspects of art and, , –, –, ; list of publications of, –; e Materials and Techniques of Medieval Paintings (), Bernard Berenson foreword for, –, ; meetings between Bernard Berenson and, –, –, ; photographs of, , , , , ; relationship between Bernard Berenson and, , , –, ; St. Mark, , , ; transcriptions and translations of medieval technical documentation by, , , –, – ompson, Grace, orndike, Paul and Rachel, –, ree Essays in Method (Berenson, ), , n, us Spoke Zarathustra (Nietzsche), , Tietze, Hans, , Timurid dynasty, Tintoreo, Domenico, , , Tiryakian, Edward, Tissot, James, Titian: “Ariosto,” now called Man with a Quilted Sleeve or Portrait of Girolamo (?) Barbarigo, , ; Europa , , , –, ,
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; Foresti collections and, , , ; Gutekunst and Colnaghi Gallery, , , , –, ; Huntington, Arabella, and, ; Madonna and Child with the Young St. John the Baptist (arib. Titian), ; portrait acquired by brother of Paul Sachs as, ; Portrait of Alfonso dEste (arib. Titian), ; Portrait of Aretino, , ; Portrait of Laura Dianti (arib. Sebastiano del Piombo, aer Titian), ; Portrait of the Doge, Andrea Grii (Catena, formerly arib. Titian), –, , –; Sacred and Profane Love, ; Uhdes concept of modernity and, ; Venus of Urbino, Tobias and the Archangel Raphael (arib. Biagio dAntonio), – Toesca, Pietro, , , , , Tolstoy, Serge, Tomb figure of kneeling woman (Chinese, Han dynasty, BC–AD ), , , Tornabuoni Chapel, Santa Maria Novella, Florence, A Touch of Innocence (Dunham, ), Tournament in Piazza S. Croce (cassone panel painting, arib. Apollonio di Giovanni and workshop), , , , –, , Towsley, Prentice, , Toy, Crawford Howell, , –, nn– Tragedy of Lucretia (Boicelli), , –, , Tremont Entrance to Olmsteds Back Bay Fens and Altamura Garden Pavilion, Fenway Court, –, , Trevelyan, Sir George, Trevor-Roper, Hugh, , Trinity (Boicelli), Triumph of Death , Triumph of Neptune (Circle of Mantegna), Trivulzio, Prince, , , nn– Tropic Death (ballet; Dunham), Troa, Antonella, , Troi (dealer), Trubetzkoy, Prince Paolo, Tunisia, Bernard Berenson in, Turbyfill, Mark, Turkey: Bernard Berensons consideration of role in World War II, ; Bernard Berensons travels in, , , n, –, ; Seljuk architecture and, Turkmen dynasty Persian miniature in Berenson Islamic collection,
Years of Japanese Art (Yashiro Yukio, ), , Über das optische Formgefühl (Vischer, ), – Ugo da Carpi, Uhde, Wilhelm, –, , – Usener, Hermann, Utili, Giovan Baista, Uzbek dynasty Persian miniature in Berenson Islamic collection, , Vahshi, Mulla, van der Weyden, Rogier, , , van Dyck, Anthony, , , , van Gogh, eo, Van Honthorst, Gerard, Van Marle, Raimond, Vasari, Giorgio, , Vavasour Elder, Irene, , Velázquez, Diego, , , , e Venetian Painters of the Renaissance (Berenson, ), , , , , , –, , n Veneziano, Domenico, , , Veneziano, Lorenzo, Venturi, Adolfo, , , , , , , , , , – Venturi, Lionello, , , , Venus of Urbino (Titian), Venus Rising om the Sea (Boicelli), Vermeer, Johannes, , , Verona, Bernard Berenson and Richters interest in painters of, Veronese, Paolo, , , –, Vertova, Luisa, , –n Victory of Pleasure over Virtue (Palma il Giovane), Vidal-Nacquet, Alain, n Vieusseux, Gabineo, Vignier, Charles, Villa I Tai: archives at, , ; art collection at, , , ; Asian and Islamic books in library at, –; Asian art and interior decoration of, , –, –; Bernard Berenson and Mostyn-Owen in garden of (), ; Bernard Berenson in hall of (), ; Bernard Berenson in study at ( and ), , ; as Bernard Berensons chief legacy, ; bequeathed to Harvard, , , , , , ; Berensons move into, –; “Bernard Berenson at Fiy” conference
(October ), ; Clark at, – , , , , ; Clarks Saltwood Castle and, , ; Dunham at, , , , –, , , ; first conceived of as center for scholarly research, – ; in Florentine literary and artistic circle, ; foundation docu ment for, ; Gardners visit to, ; Huntington friendship and financing of, –, ; “Japanese” landscape of, , ; Mayor diary on, –, ; Morra at, –; myth of Florence and, ; performance of Grays e Old Masters at (), ; Porter and, –, –, ; as run by Mariano aer death of Mary Berenson, ; Warburg, Felix, at, ; Warbu rgs KFW compared, Villani, Giovanni, Villard de Honnecourt, Vincioni, Ivo, Virgil, Aeneid, , , , Virgil Master, , –, Virgin and Child with Saints Jerome and Bernardino (Sano di Pietro), n la Virgine col bambino benedicente lofferta dun angelo (Boicelli), n Vischer, Robert, , – Visconti, Luchino, Visitation (Crespi), – Vivarini, Antonio, Vlaminck, Maurice de, , Volkelt, Johannes, n Vollard, Ambroise, , Volpe, Carlo, Volpi, Elia, Waagen, Gustav Friedrich, Wadsworth, Mary, n Wagner, Richard, Waldman, Louis, , Waley, Arthur, , al-Walid (caliph), Walker, John, , , , –, wall paintings, techniques for removing , , , – Walters, Henry, , Warburg, Aby, –, –; aestheticism, rejection of, , , , ; approach to study of art compared to Bernard Berensons, –, –, –, –; Bibliotheca Hertziana lecture (), n; cassone panel from Jarves collection, Yale University, aribution of,
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