Full Description
In the late nineteenth and early twentieth centuries, Italian Renaissance art, objects, and even the idea of Italy itself figured heavily both in the dynamic international art market and in the eyes of the general public. The alternative objects that were actively dispersed and collected -- authentic works, pastiches, Renaissance-inspired counterfeits, and reproductions -- in the diverse media of paint, plaster, terracotta, and photography, had a tremendous impact on visual culture across social strata. These essays examine less studied aspects of this market through the lens of just a few of the countless successful sales of objects out of Italy.
Contents
Contents
List of Illustrations
Notes on Contributors
Introduction
Part 1: Possession by Replica
1 Export/Import: Italian Plaster Casts Come to the United States
Martha Dunkelman
2 Art Cannot Delight the Multitude It Cannot Reach: The Western Gallery of Art and the Pisani Gallery
MacKenzie Mallon
3 The Torrigiani Affair
Denise M. Budd and Lynn Catterson
Part 2 : Possession via Various Afterlives
4 Carrying Home Renaissance Florence in Extra-Illustrated Copies of George Eliot's Romola
Jacqueline Marie Musacchio
5 Mary Blair as Collector of Medieval and Renaissance, Old and Reborn
Kerri A. Pfister
6 Staging Italian Artworks at the 1900 Paris Universal Exposition for the Benefit of a Transnational Art Market
Paola Cordera
Part 3 : Art and Its Removal
7 Protecting Patrimony in Late 19th-Century Ferrara: Garofalo's Frescoes in Palazzo Costabili and the Attempted Purchase by Stefano Bardini
Lorenzo Orsini
8 State Confiscation of Illegally Commodified Former Ecclesiastical Art Objects and the Waning of the Post-Unification Art Market in Italy
Joanna Smalcerz
Part 4 : Italy for America
9 'Here, There, and Everywhere:' Harold Parsons, the Italian Art Market and a Letter of 1948
Eliot W. Rowlands
10 Ugo Bardini: Artist and Dealer of Botticelli's Cincinnati Judith
Maria Eletta Benedetti
Bibliographic Note
Index
