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Robert Lehman (1891-1969), one of the foremost art collectors of his generation, embraced the work of both traditional and modern masters. This volume catalogues 130 nineteenth- and twentieth-century paintings that are now part of the Robert Lehman Collection at The Metropolitan Museum of Art. The majority of the works are by artists based in France, but there are also examples from the United States, Latin America, and India, reflecting Lehman's global interests. The catalogue opens with outstanding paintings by Ingres, Théodore Rousseau, and Corot, among other early nineteenth-century artists. They are joined by an exemplary selection of Impressionist and Post-Impressionist works by Degas, Renoir, Sisley, Pissarro, Seurat, Signac, Van Gogh, Cézanne, and Gauguin. Twentieth-century masters represented here include Bonnard, Matisse, Rouault, Dalí, and Balthus. There are also newly researched modern works by Vicente do Rego Monteiro, Kees van Dongen, Dietz Edzard, and D.G. Kulkarni (dizi). Robert Lehman's cultivated taste for nineteenth-century French academic practitioners and his intuitive eye for emerging young artists of his own time are documented and discussed. Three hundred comparative illustrations supplement the catalogue entries, as do extensively researched provenance information, exhibition histories, and references. The volume also includes a bibliography and indexes.
This collection of fourteen essays by distinguished art and cultural historians examine points of similarity and difference in British and American art collecting. Half the essays examine the trends that dominated the British art collecting scene of the nineteenth century. Others focus on American collectors, using biographical sketches and case studies to demonstrate how collectors in the United States embellished the British model to develop their own, often philanthropic approach to art collecting.

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American Art Association, Anderson Galleries (Firm)

Published: 1922

Total Pages: 1662


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In the first book of its kind, art information expert Lois Swan Jones discusses how to locate visual and textual information on the Internet and how to evaluate and supplement that information with material from other formats--print sources, CD-ROMS, documentary videos, and microfiche sets--to produce excellent research results. The book is divided into three sections: Basic Information Formats; Types of Websites and How to Find Them; and How to Use Web Information. Jones discusses the strengths and limitations of Websites; scholarly and basic information resources are noted; and search strategies for finding pertinent Websites are included. Art Information and the Internet also discusses research methodology for studying art-historical styles, artists working in various media, individual works of art, and non-Western cultures--as well as art education, writing about art, problems of copyright, and issues concerning the buying and selling of art. This title will be periodically updated.
A globetrotting Gold Rush heiress. An awkward Paris schoolmaster. A celebrated French actor. And a museum of history and art in California’s Central Valley. What do they have in common? They are all connected by an oil painting, a still life called Flowers and Fruit, that may or may not have been painted by the post-Impressionist Paul Gauguin. In the decade that museums began to collect modern art, Flowers and Fruit traveled the art market in Paris and New York. Experts and connoisseurs hailed it as a signature work of Gauguin just as he came to be acknowledged as a master. When it joined the Haggin Museum in Stockton, California, locals treasured it as “the Museum’s Gauguin.” But by 1964, Gauguin scholars and experts in Paris and New York had lost track of the painting and declared it lost. When it resurfaced in 2018, they questioned its authenticity. How could a genuine Gauguin have been hiding in plain sight in a provincial American museum? Is Flowers and Fruit a forgery or is it authentic? Follow along as historian, curator, and professor of museum studies Dr. Stephanie Brown traces the unlikely history of the painting. Using never-before-seen archives and making new connections, Brown writes the biography of a painting—and explores what we mean by authenticity and who gets to define it. Now undergoing technical examination as a result of Dr. Brown’s findings, Flowers and Fruit has embarked on a new chapter of its life. If the painting is authentic, it will be the most valuable painting in the Haggin’s collection—and one of the most important paintings in California. And if the painting is a forgery, who was the forger?