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In association with the North Carolina Museum of Art, the Museum of Fine Arts Houston, the Seattle Art Museum, and the Fine Arts Museums of San Francisco.
Land, Burton Dunbar, Judith Mann, Marjorie Och, and William E. Wallace."--BOOK JACKET. "This catalog will be accessible to both the art historian and the general reader."--Jacket.
This volume gathers together recent research from leading scholars specializing in the history of collecting. American Southern art collections, both public and private, contain rich and representative holdings of Renaissance and Baroque art which remain understudied, compared to the collections bracketing the east and west coasts of the United States. This anthology considers how these works of art were acquired for both prominent public and private collections, how they have been curated and displayed in exhibitions, and how they have also been preserved historically. Individual essays address a variety of art media representative of the early modern period in Europe and the Americas. Case studies of specific works of art, collections, and collectors address the broad geographic scope of Southern collections, inclusive of Washington, DC, the Carolinas, Georgia, Alabama, Louisiana, Arkansas, and Texas.
Presents a catalog that surveys the Dutch paintings found in the Metropolitan Museum of Art.
Established in 1950, the Columbia Museum of Art is the only public museum in South Carolina with an extensive collection of international art. This is thanks in no small part to significant donations from the Samuel H. Kress Foundation between 1954 and 1974, which have made the museum one of the nation's major depositories of Kress gifts of art. This catalogue serves as a striking visual reference to the museum's holdings in European art from the late Gothic period to the end of the Renaissance and includes paintings, drawings, prints, sculptures, decorative bronzes, furniture, ceramics, stained glass, and textiles. In all, eighty-four pieces are presented in color illustrations and detailed in an art historical context to benefit scholars and researchers as well as interested museum visitors. Fifty-six works of Renaissance art--several by such prominent figures as Bernardo Daddi, Sandro Botticelli, Giovanni Antonio Boltraffio, Andrea Solario, Mariotto Albertinelli, Albrecht Dürer, Parmigianino, Ambrosius Benson, Alessandro Allori, François Clouet, and Jacopo Tintoretto--are described by accomplished art historian Charles R. Mack and a team of researchers in catalogue essays that each provide an in-depth consideration of the artist's biography and contribution, the work, its provenance, and its history of attributions, ownership, and exhibition. The entries also describe such matters as condition, conservation history, and, in the case of paintings, the authenticity of frames. Arranged in chronological order by date of execution, the pieces in this section represent most of the museum's Kress materials. An additional twenty-six pieces are more briefly described in an illustrated checklist. The volume also includes an essay on the formation and distribution of the Kress Collection and an essay on the history of medieval and Renaissance art, with particular attention paid to the museum's holdings. The catalogue concludes with three appendixes treating changes in attribution, the correlation of museum inventory numbers with catalogue numbers, and the correlation of 1962 Kress Collection catalogue numbers with new catalogue numbers.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Oil sketches by Peter Paul Rubens—created at speed and in the heat of invention with a colorful loaded brush—convey all the spontaneity of the great Flemish painter’s creative process. This ravishing book draws from both private and public collections to present in full color 40 of Rubens’s oil sketches. Viewers will find in these informal paintings an enchanting intimacy and gain a new appreciation of Rubens’s capacity for invention and improvisation, and of his special genius for dramatic design and coloristic brilliance. The book investigates the role of the oil sketch in Rubens’s work; the development of the artist’s themes and narratives in his multiple sketches; and the history of the appreciation of his oil sketches. It also explores some of the unique aspects of his techniques and materials. By revealing the oil sketches as the most direct record of Rubens’s creative process, the book presents him as the greatest and most fluent practitioner of this vibrant and vital medium.