Bernard Berenson

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Bernard Berenson: Bernard Berenson (June 26, 1865 – October 6, 1959) was an American art historian specializing in the Renaissance. His book The Drawings of the Florentine
Villa I Tatti: I Tatti was the home of Bernard Berenson (1865–1959), the connoisseur whose attributions of early Italian Renaissance painting guided scholarship and collecting
Mary Berenson: have had a large hand in some of the writings of her second husband, Bernard Berenson. Her father was Robert Pearsall Smith, her mother Hannah Whitall Smith
Mona Lisa: the painting had become a repository for subjective exegeses and theories. Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted
Raphael: 2008-12-26 at the Wayback Machine Ettlinger & Ettlinger:11 Berenson, Bernard, Italian Painters of the renaissance, Vol 2 Florentine and Central Italian
La Belle Ferronnière: definitive account of the Hahns' unsuccessful marketing of their painting. Bernard Berenson, Roger Fry, and the directors of the National Gallery, the Rijksmuseum
Leonardo da Vinci: Italian). Paris, Hachette et cie. Retrieved 19 May 2021. Berenson, Bernard (1896). The Italian Painters of the Renaissance. Henneberger, Melinda. "ArtNews article
Adoration of the Shepherds (Giorgione): History of Painting in North Italy: Volume II. London: John Murray. p. 127. Retrieved 7 July 2013. Berenson, Bernard (1894). The Venetian Painters of the
Caravaggio: "Antichrist" of painting with "monstrous" talents of deception. Ostrow, 608 Roberto Longhi, quoted in Lambert, op. cit., p.15 Bernard Berenson, in Lambert
Frank Wright (painter): (1960-1961). The study he undertook at Bernard Berenson's Tuscan residence was on the relationship of Florentine painting to the Florentine theatre in the Quattrocento
Medusa (Leonardo): Leonardo. In the 20th century, Bernard Berenson and other leading critics argued against Leonardo's authorship of the Uffizi painting. It is now believed to be
Madonna and Child (Lippi): 14, 2013. Berenson, Bernard (1959). The Italian Painters of the Renaissance. Cromwell Place, London: The Phaidon Press. Berenson, Bernard (1959). The
Domenico di Michelino: historian Bernard Berenson mistakenly assigned all of Domenico's paintings to Giusto d'Andrea (1440-1496), and misattributed Zanobi Strozzi's paintings to Domenico
Black-figure pottery: historian Giovanni Morelli for studying paintings, which had been refined by Bernard Berenson. He assumed that each painter created original works which could
Caravaggisti: utterly different". The influential Bernard Berenson stated: "With the exception of Michelangelo, no other Italian painter exercised so great an influence
Sandro Botticelli: observed homo-eroticism in his portraits. The American art historian Bernard Berenson, for example, detected what he believed to be latent homosexuality
Style (visual arts): example, ears or hands, in Western old master paintings. His techniques were adopted by Bernard Berenson and others, and have been applied to sculpture
An Old Man and his Grandson: historian Bernard Berenson, "There is no more human picture in the entire range of Quattrocento painting, whether in or out of Italy." The painting's provenance
Pietro Longhi: 2017-08-18. The Venetian painters of the renaissance: with an index to their works, Third edition (1901), by Bernard Berenson, G.P. Putnam and Sons, pp
Alesso di Benozzo: the painter's skinny and exiguous figures, and the "Alunno di Benozzo," literally the "student of Benozzo," a nickname invented by Bernard Berenson. His
Giorgione: Samuel Kress as a Giorgione, and his expert Bernard Berenson, who insisted it was an early Titian. Berenson had played a significant part in reducing the
Conversion on the Way to Damascus: 1953 Bernard Berenson, probably the greatest authority on Italian Renaissance painting in the first half of the 20th century, called the painting a charade:
The Rape of Europa (Titian): century it was in the Orleans Collection in Paris. It was purchased by Bernard Berenson on behalf of art collector Isabella Stewart Gardner in 1896. Danaë
Paolo di Giovanni Fei: ornamental detail. His artistic personality was first elucidated by Bernard Berenson. Madonna and Christ on the Throne, National Museum of Serbia, Belgrade
Joseph Duveen, 1st Baron Duveen: trade in paintings and quickly became one of the world's leading art dealers due to his good eye, sharpened by his reliance on Bernard Berenson, and skilled
Kenneth Clark: art. After coming under the influence of the connoisseur and dealer Bernard Berenson, Clark was appointed director of the Ashmolean Museum in Oxford aged
Luisa Vertova: undertook numerous projects as editor of several editions of her mentor Bernard Berenson's and her husband Benedict Nicolson's writings. Vertova was born to
Jacopo Bassano: The Purification of the Temple, The National Gallery Berenson, Bernard (1894). The Venetian Painters of the Renaissance with an Index to their Works. New
Lorenzo Lotto: since the monograph of Bernard Berenson) Zanchi, Mauro - Lotto. I simboli, Giunti, Firenze 2011. ISBN 88-09-76478-1 Lotto's paintings in various museums of
Libro de' Disegni: Italian) Bernard Berenson, I disegni dei pittori fiorentini, Milano, Electa editr., 1961, SBN IT\ICCU\PUV\0037541., volume 2, page 446 (in Italian) Bernard Berenson
The Last Judgment (Michelangelo): of soot from candles on the altar. In 1953 (admittedly in November) Bernard Berenson put in his diary: "The ceiling looks dark, gloomy. The Last Judgment
Sano di Pietro: Bernard Berenson, Essays in the Study of Sienese Painting (New York, F.F. Sherman, 1918). J. A. Crowe and G. B. Calvalcaselle, A History of Painting in
William Woodward (artist, b. 1935): he became a frequent guest of the art historian and art connoisseur Bernard Berenson, at Villa I Tatti. In Washington DC, Woodward taught drawing at the
Benois Madonna: evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity: One unhappy
Leda and the Swan (Uffizi): closest copies after Leonardo's own lost work on the same subject. Bernard Berenson even argued the Uffizi work was an autograph work by Leonardo himself
Bartolomeo di Giovanni: Renaissance painter active in Florence. His works were first identified by the art historian Bernard Berenson, who did not know the painter's real name
The Procession of the Magi (Strozzi): painting had at first been attributed to Domenico di Michelino by Bernard Berenson. It is attributed to Strozzi since 1950. King Balthazar's Journey to
Francesco di Vannuccio: Giovanni Fei", Bullettino senese di storia patria, vol. 4. pp. 25–42. Berenson, Bernard (1968). Italian Pictures of the Renaissance: Central Italian & North
Cecilia Beaux: comparisons with John Singer Sargent; at one exhibition, Bernard Berenson joked that her paintings were the best Sargents in the room. She could flatter
Bernardino de' Conti: to a lesser extent, religious renditions such as Madonna and Child. Bernard Berenson argued that La Belle Ferronnière should be attributed to Bernardino
Roloff Beny: writers—included Laurence Olivier, Stephen Spender, Rose Macaulay, Bernard Berenson, Jean Cocteau, Henry Moore, and other makers of art and literature
Piero della Francesca: Volume V: The Renaissance. Simon and Schuster. ISBN 9781451647624. Berenson, Bernard, Piero della Francesca or The Ineloquent in Art, The Macmillan Company
Stefano di Giovanni: speaks to Sassetta's fame in his time period. Bernard Berenson bequeathed many of Sassetta's painting from his Florence Villa to Harvard University,
Maud Cruttwell: examples of the analytical critical style of Giovanni Morelli and Bernard Berenson. Maud Cruttwell was born in Frome in 1859 to the solicitor Wilson Clement
Blonde Bather: 13 September 2017. Berenson, Bernard; Clark, Kenneth (2015). Berenson, Bernard (ed.). My Dear BB ...: The Letters of Bernard Berenson and Kenneth Clark
Louis Kronberg: Museum, as well as in the museums of Boston and Indianapolis. After Bernard Berenson, Kronberg frequently went to Paris to buy art for the Gardner Museum
Adoration of the Magi (Fra Angelico and Filippo Lippi): The painting as it now appears is believed to have developed in several stages. In the usual reconstruction, first advanced by Bernard Berenson, the
Francesco Botticini: " Paragone, vol. 9, no. 211 (1967): pp. 10–15. Berenson, Bernard. The Drawings of Florentine Painters, 2 vols (Chicago: University of Chicago, 1938, [Second
Holy Family with the Infant Saint John the Baptist (Correggio, Los Angeles): Fogg Art Museum in 1905 or 1906, where it was seen and studied by Bernard Berenson, who published his work on it in 1907. His attribution of it to Correggio
Andrea di Niccolò: primarily around Siena and its surrounding towns. The art scholar Bernard Berenson noted Andrea was a pupil of Vecchietta, and demonstrated influences
List of Catholic artists: National Gallery of Art; New Haven: Yale University Press, 1997. Berenson, Bernard - Lorenzo Lotto; The Phaidon Press Humfrey, Peter - Lorenzo Lotto;
1959 in art: Ziegler, German painter and politician (born 1892) September 29 – Matthew Smith, English painter (born 1879) October 6 – Bernard Berenson, Lithuanian American
Benedetto Bonfigli: of Painters and Engravers, Biographical and Critical. Vol. I: A-K. Covent Garden, London. pp. 154–155. Berenson, Bernard (1948). The Italian Painters of
List of anonymous masters: renaming as anonymous the painters they had formerly named. One example is the case of Pier Francesco Fiorentino, to whom Bernard Berenson attributed a number
Emilio Costantini: art dealers of the time, such as Herbert P. Horne and Bernard Berenson; notably, through Berenson, he sold Raphael's Portrait of Tommaso Inghirami to Isabella
Bartolomeo Bulgarini: attributed to Ugolino Lorenzetti, a composite name constructed in 1917 by Bernard Berenson, referencing the stylistic similarities to Ugolino Di Niero and Pietro
1895 in art: madman" (Kan kun være malet af en gal Mand!) on his 1893 painting The Scream. Bernard Berenson publishes Lorenzo Lotto: An Essay in Constructive Art Criticism
Palazzi Barbaro, Venice: Browning and Claude Monet. Other members of the "Barbaro Circle" included Bernard Berenson, William Merritt Chase, Isabella Stewart Gardner, Edith Wharton, and
Portrait of a Woman (Dosso Dossi): current attribution was first mooted in 1932 by Bernard Berenson, though Felton Gibbons's monograph on the painter preferred to see it as a studio copy after
Messina: Neoplatonic-alchemical program. It was considered by art historian Bernard Berenson "the most beautiful fountain of the sixteenth century in Europe". The
Arthur Joseph Sulley: continued his work in masterpieces. In 1914, with the help of connoisseur Bernard Berenson, he sold Lorenzo di Credi’s Boy in a Scarlet Cap and Bernardo Daddi’s
Marcello Massarenti: less than impressed by the authenticity of the paintings, and Duveen's close associate Bernard Berenson, played an uncertain role in the sale of the collection
Gertrude Stein: Stein holdings to grow over time. The art historian and collector Bernard Berenson hosted Gertrude and Leo in his English country house in 1902, facilitating
Leonardus Nardus: swindler in 1908 by the art connoisseurs Cornelis Hofstede de Groot, Bernard Berenson, Wilhelm Valentiner and Roger Fry, but the incident was kept (mostly)
Pinacoteca Comunale, Città di Castello: 2006, the artist Milo Manara paid his homage to this legendary woman. Bernard Berenson, Italian Pictures of the Renaissance, Phaidon Press, 1963 Hugo Chapman
Byzantine art: this point of view has been occasionally revived, most notably by Bernard Berenson, modern scholars tend to take a more positive view of the Byzantine
1896 in art: collection of drawings. Bernard Berenson publishes Florentine Painters of the Renaissance. The Royal Society of Miniature Painters, Sculptors and Gravers
1903 in art: the United States, for Collier's Weekly. Bernard Berenson publishes The Drawings of the Florentine Painters. Anna Muthesius publishes Das Eigenkleid der
Virgin and Child with Two Angels (Botticelli, Strasbourg): restoration attempts, the painting had not unanimously been attributed to Botticelli himself: critics like Bernard Berenson, who had at first declared
Orzinuovi Altarpiece: Ponte, pag. 58 Bernard Berenson 1907 p. 265, 1927 p. 265 Pier Virgilio Begni Redona, p. 220 Bernard Berenson, The North Italian Painters of the Renaissance
Walter Pach: artist and a writer, despite advice from friends like art historian Bernard Berenson who urged him to devote his time to writing. His writings include monographs
The Finding of Moses (Veronese, Dijon): studio assistance as argued by Florence Ingersoll-Smouse in 1928, Bernard Berenson in 1932 and 1936 (though in 1957-1958 he changed his mind and argued
Cecil Beaton: 1953 Elizabeth Taylor, 1954 Grace Kelly, 1954 Mona von Bismarck, 1955 Bernard Berenson, 1955 Joan Crawford, 1956 Mrs. Charles (Jayne Wrightsman), 1956 Maria
1897 in art: Fifty Drawings by Aubrey Beardsley is published. Bernard Berenson publishes Central Italian Painters of the Renaissance. Edwin Austin Abbey – The Play
Madonna of the Yarnwinder: Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he
Giovanni Morelli: Bergamo." Morelli's connoisseurship was developed to a high degree by Bernard Berenson, who met Morelli in 1890. The first generation of Morellian scholars
Northern Master: to him. Some critics (for example Henry Thode, Josef Strzygowski, Bernard Berenson, and Federico Zeri) believe no such artist as the Northern Master existed
1865 in art: 1929) June 26 – Bernard Berenson, Lithuanian-born American art historian (died 1959) June 28 – David Young Cameron, Scottish painter (died 1945) August 2
Madonna and Child (Cima da Conegliano, private collection): the Collection of Sir Herbert Cook, London, 1932, p. 52 Bernard Berenson, The Venetian Painters of the Renaissance, New York, 1897, p. 98; (in German)
Frans Geffels: Graver, 1841-1917; Berenson, Bernard, 1865-1959; Valentiner, Wilhelm Reinhold, 1880-1958, Catalogue of a collection of paintings and some art objects;
Master of the Cappella Medici Polyptych: Terenzano) was an Italian painter active between about 1315 and 1335. Identified in the twentieth century by Bernard Berenson as the Master of Terenzano
List of victims of the September 11 attacks: Reuters Robert Arthur Campbell 25 WTC New York New York United States painter Fine Painting and Decorating Sandra Patricia Campbell 45 WTC New York New York
Head of a Bear: the first time in 1937 and was included in Bernard Berenson's 1938 book The Drawings of the Florentine Painters. In 2008 the work was purchased by the American
Lilla Cabot Perry: German painter. In addition to receiving formal academic training, Perry spent much of her time studying the old masters in museums with Bernard Berenson, an
Henry Doetsch: collect pictures by old masters. Staying in contact with Bernard Berenson, masterpieces by great painters were gathered in the collection: Titian, Veronese,
St Justina of Padua with a Donor: Virgilio Begni Redona, p. 270 Carl Ransonnet, pagg. 13-27 Bernard Berenson, The North Italian Painters of the Renaissance,New York-London 1907 (in Italian)
Kateryna Antonovych: Antonovych painted a series of portraits of cultural figures including Bernard Berenson, Mykhailo Hrushevskyi, Mykola Sadovskyi, and Taras Shevchenko. In 1954
Nicolas Lokhoff: but the Soviets refused. Then, with the assistance of art historian Bernard Berenson, 22 copies were purchased by Helen Frick, daughter of American collector
Vim Karénine: classiques", 2009. Bernard Berenson Florentine Painters of the Renaissance (1896) The Bernard Berenson collection of Islamic Painting at Villa i Tatti :
Napoleon III: Cobban 1965; Milza 2006. Cobban 1965, p. 159. Milza 2006, p. 271. Edward Berenson; Vincent Duclert; Christophe Prochasson (2011). The French Republic: History
Ernest Hemingway: Literature. He modestly told the press that Carl Sandburg, Isak Dinesen and Bernard Berenson deserved the prize, but he gladly accepted the prize money. Mellow
Saint Jerome in the Desert (Pinturicchio): acquired it from the art dealer Luigi Grasse in 1916 on the advice of Bernard Berenson. In 1931 it formed part of the original core of the Walters Art Museum
Neri di Bicci: early twentieth-century scholars who assembled Neri's corpus, such as Bernard Berenson. Santi, B. (2003). Neri di Bicci. Grove Art Online. Retrieved 8 Dec
Stefano Bardini: with Bernard Berenson resulted in several of Bardini's purchases finding their way to the Isabella Stewart Gardner Museum, Boston, where Berenson was the
Aby Warburg: The most famous Renaissance specialist of the time, the American Bernard Berenson, was likewise in Florence at this period. Warburg, for his part, renounced
Francesco Bonsignori: her portrait painter. In 1506, Bonsignori worked on the Last Supper for the monastery of Francesco de’ Zoccolanti in Mantua. The painting includes Federico
1930 in art: Bardfield Artists community established in England. Bernard Berenson publishes The Italian Painters of the Renaissance. Milt Gross publishes his wordless
Julian Gardner (art historian): ISBN 9783777423852 Giotto and His Publics: Three Paradigms of Patronage, 'The Bernard Berenson Lectures on the Italian Renaissance' series, Cambridge, Mass. & London:
Janet Ross: Sarto that was a study for his painting Deposition From the Cross. She also acquired a painting that Bernard Berenson identified as being Madonna and
1907 in art: Edward H. Bennett, and illustrated by Jules Guerin. Bernard Berenson publishes North Italian Painters of the Renaissance. Cadmium Red pigment first produced

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