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This book evolved from a symposium “When Michelangelo was Modern: The Art Market and Collecting in Italy, 1450–1650,” organized by the Center for the History of Collecting, that was held at The Frick Collection on April 12 and 13, 2019. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
This book evolved from a symposium “When Michelangelo was Modern: The Art Market and Collecting in Italy, 1450–1650,” organized by the Center for the History of Collecting, that was held at The Frick Collection on April 12 and 13, 2019. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
This book evolved from a symposium "Sculpture Collecting and Display, 1600-2000," organized by the Center for the History of Collecting, that was held at The Frick Collection on May 19 and 20, 2017. Both the book and the symposium were made possible through the generous support of the Robert H. Smith Family Foundation.
The book is published in association with The Frick Collection.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Making use of rich archival material Joanna Smalcerz narrates the complex and often dramatic struggle between the lawmakers of the new Italian State, and international curators (e.g., Wilhelm Bode), collectors (e.g., Isabella Stewart Gardner) and dealers (e.g., Stefano Bardini) who continuously orchestrated illicit schemes to export abroad Italian masterpieces. At the heart of the intertwinement of the art trade, art scholarship and art protection policies the author exposes the socio-psychological dynamics of unlawful collecting.
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings
Table of Contents
1. H. Perry Chapman, Thijs Weststeijn, Connoisseurship as knowledge. An introduction
2. E. Melanie Gifford, Pieter Bruegel’s afterlife. A visual metaphor in seventeenth-century landscape
3. Jan Blanc, Mettre des mots sur l’art. Peintres et connaisseurs dans la théorie de l’art française et néerlandaise du XVIIe siècle
4. Alexander Marr, Ingenuity and discernment in The cabinet of Cornelis van der Geest (1628)
5. Tiarna Doherty, Painting connoisseurship. Liefhebbers in the studio
6. Angela Ho, Exotic and exclusive. The Pronk porcelain as products for the connoisseur
7. Antoinette Friedenthal, John Smith’s Rembrandt research project. An art dealer establishes the first catalogue raisonné of the paintings (1836)
8. Catherine B. Scallen, Rembrandt print connoisseurship, Sir Francis Seymour Haden, and the etching revival of the nineteenth century
9. Suzanne Laemers, In de voetsporen van Max Friedländer. Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
10. Marek Wieczorek, Greenberg’s connoisseurship in Mondrian’s space
11. Anne-Sophie V.E. Radermecker, The market reception of ‘new connoisseurship’. The impact of recent advances in art scholarship on the selling and buying of early Flemish paintings