The New York Market for French Art in the Gilded Age, 1867–1893: Contextualizing Art Markets
Autor Leanne M. Zalewskien Limba Engleză Paperback – 26 iun 2024
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Specificații
ISBN-13: 9781501388361
ISBN-10: 1501388363
Pagini: 264
Ilustrații: 43 bw illus
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.35 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Contextualizing Art Markets
Locul publicării:New York, United States
ISBN-10: 1501388363
Pagini: 264
Ilustrații: 43 bw illus
Dimensiuni: 152 x 229 x 25 mm
Greutate: 0.35 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Seria Contextualizing Art Markets
Locul publicării:New York, United States
Caracteristici
Shows how the United States, especially New York City, became a cultural powerhouse in the international arena, ultimately leading to the first major art market bubble in the United States
Notă biografică
Dr. Leanne Zalewski has published articles on art collections, participated in numerous conferences on early Gilded Age art collecting, and received support for her research from the Getty Research Institute, Huntington Library, Center for the History of Collecting in America at the Frick Art Collection, and the American Association of University Professors.
Cuprins
List of IllustrationsSeries Editor's IntroductionAcknowledgmentsPrefaceForeword1. Introduction 2. Paris's Guiding Light: The Universal Exposition of 18673. "Paris is for Sale" and Americans are Buying 3. Purchasing Ideologies: Seven New York Collections5. Marketing the Collections: Loans, Periodicals, Books, and Prints 6. From Private Collection to Public Good: The Metropolitan Museum of Art7. Conclusion: The World's Columbian Exposition of 1893 BibliographyIndex
Recenzii
This book is the definitive account of the passionate love affair between the opulent collectors of America's 'gilded age' and the dazzling art made by 19th-century French academic painters. Richly textured, thoroughly researched, lavishly documented and vividly written; it is a real treat for readers.
Leanne Zalewski's thoroughly researched book surveys relations among wealthy American collectors of French Academic art and international art dealers in the period between Paris's 1867 Universal Exposition and Chicago's 1893 Columbian Exposition. Analyzing auction catalogs, media, markets, private collections, and dealers' stock books, Zalewski presents a fascinating, innovative contribution to studies of art collecting and the art market.
The famed 'Gilded Age Picture Rush' spurred the creation of renowned American private and public collections. Examining this pivotal moment, Zalewski provides a thoughtful and theoretically significant contribution to the History of the American Art Market.
With impeccable research that evokes the temper of the times, Leanne Zalewski has produced an essential study on what she has coined as 'the Gilded Age Picture Rush', a cultural moment when American collectors were finding their way in the international art market and defining their roles as cultural leaders. In doing so, she offers a wealth of detail through specific examples that illuminate marketing, dealing, and exhibition practices, while never losing sight of the overarching theme of the book which promotes the view that American collectors embraced a uniquely philanthropic approach to their collecting, aiming to have their collections benefit the general public through the institutionalization of art collections for the benefit of many. This is a much needed and significant contribution to the literature on the history of collecting in the United States.
Zalewski's engaging narrative of America's cultural coming of age after the Civil War comprises a cast of privileged collectors, astute dealers, salon artists and diverse publications - some well known today, most less so - who transformed American taste from the provincial to the worldly. The 'Gilded Age picture rush' introduced contemporary French academic art as a standard for artistic excellence, starting from the Paris Exposition of 1867. Ironically, that important chapter in French art began to lose its critical favor by Chicago's Columbian Exposition of 1893, a judgment that is only now being redressed. Zalewski describes in fascinating detail an important, if often overlooked, period in American art history.
In her richly detailed study, Zalewski demonstrates that a turn towards French academic and Barbizon school painting exemplified the 'Gilded Age picture rush' from 1867 to 1893, in a welcome contribution to the scholarship of collecting, art markets, and the institutionalization of artistic culture in the United States in the later 19th century.
Leanne Zalewski's thoroughly researched book surveys relations among wealthy American collectors of French Academic art and international art dealers in the period between Paris's 1867 Universal Exposition and Chicago's 1893 Columbian Exposition. Analyzing auction catalogs, media, markets, private collections, and dealers' stock books, Zalewski presents a fascinating, innovative contribution to studies of art collecting and the art market.
The famed 'Gilded Age Picture Rush' spurred the creation of renowned American private and public collections. Examining this pivotal moment, Zalewski provides a thoughtful and theoretically significant contribution to the History of the American Art Market.
With impeccable research that evokes the temper of the times, Leanne Zalewski has produced an essential study on what she has coined as 'the Gilded Age Picture Rush', a cultural moment when American collectors were finding their way in the international art market and defining their roles as cultural leaders. In doing so, she offers a wealth of detail through specific examples that illuminate marketing, dealing, and exhibition practices, while never losing sight of the overarching theme of the book which promotes the view that American collectors embraced a uniquely philanthropic approach to their collecting, aiming to have their collections benefit the general public through the institutionalization of art collections for the benefit of many. This is a much needed and significant contribution to the literature on the history of collecting in the United States.
Zalewski's engaging narrative of America's cultural coming of age after the Civil War comprises a cast of privileged collectors, astute dealers, salon artists and diverse publications - some well known today, most less so - who transformed American taste from the provincial to the worldly. The 'Gilded Age picture rush' introduced contemporary French academic art as a standard for artistic excellence, starting from the Paris Exposition of 1867. Ironically, that important chapter in French art began to lose its critical favor by Chicago's Columbian Exposition of 1893, a judgment that is only now being redressed. Zalewski describes in fascinating detail an important, if often overlooked, period in American art history.
In her richly detailed study, Zalewski demonstrates that a turn towards French academic and Barbizon school painting exemplified the 'Gilded Age picture rush' from 1867 to 1893, in a welcome contribution to the scholarship of collecting, art markets, and the institutionalization of artistic culture in the United States in the later 19th century.