In 1916, John Singer Sargent (1856-1925) met Thomas Eugene McKeller (1890-1962) a young African American elevator attendant at Boston's Hotel Vendome. McKeller became the principal model for Sargent's murals in the new wing of the Boston's Museum of Fine Arts, among the painter's most ambitious works. Sargent's nude studies and sketches from this project attest to a close collaboration between the two men that unfolded over nearly ten years. Featuring drawings given by Sargent to Isabella Stewart Gardner and published in full for the first time, a portrait of McKeller, and archival materials reconstructing his life and relationship with Sargent, this book opens new avenues into artist-model relationships and transforms our understanding of Sargent's iconic American paintings. Essays offer the first biography of Thomas McKeller and a window into African America life in early 20th century Roxbury. They address the artist's sexuality, his models, and consider questions of race and gender.
Botticelli: Heroines and Heroes explores the work of the legendary Renaissance painter Sandro Botticelli, focusing on a genre called spalliera that Botticelli employed with staggering originality. The catalgo and exhibition, held at the Gardner Museum, Boston, include significant loans from European and American public collections. Accompanying the exhibition at the Isabella Stewart Gardner Museum, Boston (14 February - 19 May 2019), this catalog explores the work of legendary Renaissance painter Sandro Botticelli (about 1444-1510). Today the alluring and enigmatic Primavera forms the cornerstone of his modern fame, but its familiarity belies distant origins in the heady intellectual environment of Laurentian Florence and the residences of its moneyed elite. Part of a genre called spalliera, so named for their installation around shoulder (spalla) height, this type of painting introduced beautiful, strange, and disturbing images into lavish Florentine homes. With staggering originality, Botticelli reinvented ancient subjects for the domestic interior, paneling patrician bedrooms with moralizing tales and offering erudite instruction to their influential inhabitants. At the center of this exhibition is a spalliera reunited, the Gardner's Tragedy of Lucretia and its companion The Tragedy of Virginia (Accademia Carrara, Bergamo). Together with extraordinary loans of the same genre from European and American public collections, Heroines and Heroes explores Botticelli's revolutionary approach to antiquity - from ancient Roman to early Christian - and offers a new perspective on his late career masterpieces. Catalog essays address Botticelli's spalliera (Nathaniel Silver), their violence (Scott Nethersole), his textual sources (Elsa Filosa), and rediscovery in Gilded Age Boston (Patricia Lee Rubin). Entries include new insights for each work and up-to-date bibliographies, while a special section features archival materials devoted to Gardner's pioneering acquisition of the first Botticelli in America.
Dubbed ?a mighty poet? by American author Henry James, Titian remains one of the most celebrated painters in Western art. Since his death in 1576, the artist?s reputation has never waned. In Gilded Age America, Titian paintings became the peerless prizes of leading collectors and quickly rose to the top of Isabella Stewart Gardner?s wish list. In 1896, she landed his masterpiece, The Rape of Europa. It became the sole example of his celebrated cycle of poesie outside of Europe, inspired an entire gallery in her newly built museum, and contributed to England?s national outcry over the loss of its art treasures. This book ? the first dedicated to Europa ? tells the painting?s story in Gardner?s time, in Titian?s, and offers rare insights into the artist?s virtuoso technique.0Nathaniel Silver, William and Lia Poorvu Curator of the Collection, tells the acquisition story behind The Rape of Europa (1562), one of the most influential and iconic Renaissance paintings in America. The purchase of Titian?s masterpiece from an English aristocrat marked the beginning of a new phase in Gardner?s business relationship with scholar and art dealer Bernard Berenson and made her the envy of every art collector in the United States. While Henry James nicknamed Isabella ?daughter of Titian? and all of Boston fell at her feet, European contemporaries took note of their rapidly disappearing national patrimony. The same celebrity that would make Europa the crown jewel of Boston?s newest museum fueled the widely publicized debate over England?s artistic heritage. ?American despoilers? became the rallying cry of British museum directors, curators, and scholars who cast their country as the victim of New World rapacity, and Isabella its most brilliant villain.
To judge by the dictum of al-Ja~i?: (d. A.D. 869), 'Wisdom has descended upon these three: the brain of the Byzantine, the hands of the Chinese, and the tongue of the Arab', in the great age of the
At the end of the nineteenth century, a remarkable group of artists, writers and patrons gathered regularly at the Palazzo Barbaro in Venice, Italy. While Venice had long attracted wealthy tourists from across Europe and America, a particularly rich expatriate culture flourished at this time. In the 1880s, Daniel and Ariana Curtis of Boston purchased and restored the Palazzo Barbaro, where they lived in self-imposed exile. The Palazzo eventually became the center of a fascinating circle of American and English personalities living in Venice: the poet Robert Browning; Katharine de Kay Bronson of Newport, a writer greatly interested in local Venetian craft; Sir Austen Henry Layard, an archaelogist and an important collector of Renaissance paintings. Isabella and John Gardner, also of Boston, rented the Palazzo Barbaro every other year, beginning in 1884. A myriad of fascinating figures such as the painters John Singer Sargent, James McNeil Whistler and Claude Monet; the connoisseur Bernhard Bereson; writers Henry James, Paul Bourget, Vernon Lee, and a galaxy of socialites frequently joined this rich and culturally diverse group. As the Gardner Museum commemorates its centennial, Gondola Days accompanies an exhibition which will display the artistic products of this fascinating time and place. It will present this beloved Venetian palace as a source of inspiration for the Gardner, which, under Isabella's direction, became Boston's own Palazzo Barbaro: a Venetian gothic structure, with flowering gardens, full of paintings and objects, but also enlightened by working artists, poets and thinkers. This book explores the distinctive interaction of this small group of individuals, and their special connections with Venice. The exhibition will display paintings, watercolors, drawings, and sketchbooks, as well as photographs (many made by the visitors to the Palazzo), literary manuscripts, letters, albums, and other documents. SELLING POINTS: A collection of paintings, watercolours, drawings and sketchbooks, photographs, manuscripts and letters Accompanies an exhibition at the Isabella Stewart Gardner Museum from 21 April 2004 - 15 August 2004, which explores the source of inspiration for Fenway Court Showcases the artistic products of this fascinating time and place Demonstrates the fascination that arose around the Palazzo Barbaro and the interaction it stimulated between American and English personalities in Venice 177 illustrations