Abstract
Previous articleNext article No AccessThe Berenson Collection: A GuideJoseph ConnorsJoseph ConnorsHarvard University Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by I Tatti Studies in the Italian Renaissance Volume 19, Number 2Fall 2016 Published for Villa I Tatti: The Harvard University Center for Italian Renaissance Studies Article DOIhttps://doi.org/10.1086/688511 Views: 685Total views on this site © 2016 by Villa I Tatti: The Harvard University Center for Italian Renaissance Studies. All rights reserved.PDF download Crossref reports no articles citing this article.
Highlights
Review essay on The Bernard and Mary Berenson Collection of European Paintings at I Tatti, edited by Carl Brandon Strehlke and Machtelt Brüggen Israëls, Florence: Villa I Tatti and Milan: Officina Libraria, 2015
I will treat them last the catalogue opens with three general essays: one by Carl Strehlke on the formation of the collection, a second by Machtelt Brüggen Israëls on the role of Siena, and a third by Giovanni Pagliarulo on photography at I Tatti
If you need the biography of any of the Italian primitives or early Renaissance masters cross your fingers and hope that at least a fragment of his oeuvre is represented in the Berenson collection
Summary
I will treat them last the catalogue opens with three general essays: one by Carl Strehlke on the formation of the collection, a second by Machtelt Brüggen Israëls on the role of Siena, and a third by Giovanni Pagliarulo on photography at I Tatti. The collection has works attributed to both Gentile and Giovanni Bellini and the pair of vite in the catalogue make it easy to jump into the extensive literature on the most important artistic family of Renaissance Venice.
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