7 of 7 people found the following review helpful:
5.0 out of 5 stars
THE BUSINESS OF ART AND ANTIQUITIES, May 22, 2010
This review is from: Henry Walters and Bernard Berenson: Collector and Connoisseur (Hardcover)
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Henry Walters and Bernard Berenson: Collector and Connoisseur is based mainly on archival documents and correspondence recently discovered at the Walters Art Museum and The Villa I Tatti, in Florence, Bernard Berenson's former home. In this book, Mazaroff focuses on the huge influx of Renaissance Art of the late 19th and early 20th centuries and two of the men who were leaders in collecting and displaying such art.
Thus Stanley Mazaroff constructed the riveting story of Walters and Berenson and in so doing, offers unusual insights into the marketplace of sales, attributions of art that is sought after and acquired by American art museums and other collectors.
The author did exhausting researched as he documented the devil in the details of the antiquities market place, which has gone on forever and continues to this day. Several years ago, it was estimated by several celebrated Arts and Antiquity consultants, that more than 50% of the art in major museums and private collections, are mistaken, or fraudulently attributed, or counterfeited. Even more recently several newly acquired pieces of art by major museums were suspected of being counterfeited or erroneously attributed after the fact.
Henry Walters and Bernard Berenson: Collector and Connoisseur is an extremely well written book, which allowed it to sail along rather smoothly. The author's aura-constructs were supported by his luminescent language, which matched the high level of formal writing styles, education, sophistication, and the view of the market place of that era running from the turn of the 19th into the early 20th Century. It simultaneously recreated the milieu which surrounded and motivated those most interested in the pleasures and frustrations of collecting back then. Many of those who could afford to collect art and antiquities at that time, were exhibiting a notch above mere ego; it was, in some cases, a means of flaunting their riches thus drawing great attention to themselves. In this case, the art collected and exhibited by Walters was a means to an end. One might assume that since Mr. Walters seldom even looked at the artwork once he possessed it, he had no real interest in the paintings as things of beauty to behold. Was ego, status, and/or a desire for prestige overwhelm Walters, or was he simply a fellow whose ideals were extremely high?
Within the story of the growing friendship and professional adherence of two men, one of which profited by his advice and the other who profited in other ways from it, there are pages of appendices with correspondence, photos and documentation, of some of the collection. From the outset Henry Walters, the wealthy collector was suspicious of Bernard Berenson the connoisseur. That they formed a bond both as professional and later a personal nature was bound to suffer in both realms if there was a disturbance in either realm. It is not surprising that the agenda of each were bound to clash. There were two periods of activity between the two men. The first was severed by Walters when he discovered Berenson's complicity with another buyer to sell that buyer the crème d-la crème' and restrict Walters to leftovers. Why Walters allowed Berenson back inside was a mystery to me, which becomes clearer to the reader, which it did for a few years to Walters.
Walters opened his Italianate museum in 1909, and very soon it was seen as America's "Great Temple of Art." Its walls were filled with more than 500 Italian paintings, some attributed to Michelangelo and his junior and worshipful younger rival, Raphael. Walters' collection rivaled the great collections in Europe, when first Berenson contacted him offering to analyze his collection, create a scholarly catalog and assist him in acquiring an even larger and more prestigious series of additions to his museum.
The catalog would be a sort of advertising as well as historical, informational tribute to the museum and all it contained, and in Berenson Walters, thought he had the right man to make all of his dreams come true. Berenson was the bestrower of a needed imprimatur, which would inevitably send the Walters collection soaring into the stratosphere, surpassed all existing competitors.
Berenson, despite initially approaching Walters with his marketing plan, he quickly turned on Walters's collection, burying his promises in a stream of criticism, which deeply hurt Walters. It is my speculation that he did so, to remake the Collection in his own image. That by reviling it and then entering into a business relationship with Walter's whatever successes the museum attained under Berenson's tutelage and guidance, would be attributed more to Berenson than Walters.
Three years after encountering each other (1912), Walters had become Berenson's most acquisitive client, and a close personal friend. Though Berenson's guidance led Walker's collection and museum up the road to eminent success and recognition, the relationship gave the appearance of one which was failing. Was it truly crumbling at its foundations, besotted with broken promises, deceit, and other conflicts? Or were they able to sustain their seemingly once professional demeanor and friendship as well, as the search went on? Did they prosper as men of honor building a home for more than 500 great and marginal paintings? These and more are questions will be answered by a fine book, which details all of the tedium, adventure and excitement of the slippery sloped collectible's market place.
If you have an interest in Renaissance Art, collecting and antiquities, or simply love non-fictional books in which intrigue, greed, deceit, betrayal, pomposity and sincerity are rampant and often working side-by-side, you will LOVE this book.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Making or Breaking an Art Collection, April 5, 2010
This review is from: Henry Walters and Bernard Berenson: Collector and Connoisseur (Hardcover)
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In 1902, Henry Walters acquired a collection of over nine hundred paintings from Don Marcello Massarenti who was once influential in the Holy See. The art work ultimately ended up in Baltimore, Maryland.
Bernard Berenson, also actively involved in the art world as a connoisseur and dealer, would eventually meet Walters and become the kingpin to make or destroy Walter's reputation as the owner of the greatest gallery in America. Berenson "using his extaordinary intellect, impeccable scholarship, and entrepreneurial skills... convinced wealthy Americans to embark on a shopping spree for Italian Renaissance paintings that would last for generations." Berenson possessed the ability to make or break a collection based on his attribution of the art and his stamp of approval or lack thereof.
First meeting in 1912, Walters quickly became Berenon's most active client, but behind his back, Berenson entered into a lucrative contract with the controversial art dealer, Joseph Duveen. In this deal, Berenson agreed to offer everything of importance first to Duveen thereby restricting Walters from buying the best paintings. Isabella Stewart Gardner of the beautiful museum of the same name, caught on to Berenson's unscrupulous ways and eventually quit dealing with him.
Bernard Berenson became a very wealthy man through his suspicious dealings in art to the seeming detriment of Henry Walters. In the end however, it is Walters who has triumphed through the years renowned for its scholarship, Walters Art Museum in Baltimore, Maryland is one of the finest Italian Renaissance and Baroque collections in the United States.
This book is thorough and intriguing full of very interesting historical and art related details.
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1 of 1 people found the following review helpful:
4.0 out of 5 stars
Interesting Perspective on the Art World, March 15, 2010
This review is from: Henry Walters and Bernard Berenson: Collector and Connoisseur (Hardcover)
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This is the second book I have read in the past couple of months about the amazing, convoluted world of art collecting, dealing, and authentication/attribution. I find the topic interesting, and this book is certainly well-researched and thorough. (The author had previously been a lawyer, but retired and studied art history. He is also evidently on the board of the Walters Art Museum, so has a personal interest in the topic.)
It focuses on art collector Henry Walters and his relationship with Bernard Berenson, a connoisseur. Walters relied on Berenson to authenticate attributions on his existing collection and facilitate and recommend new pieces for purchase. In addition to being motivated by his love of art, Berenson is also motivated by money, leading him to enter into questionable partnerships.
One of these partnerships is with Sir Joseph Duveen, who also factors heavily into the other book I read recently,
The American Leonardo: A Tale of Obsession, Art and Money. Alone and in combination, these two books show how the world of art dealing is fraught with uncertainty and greed.
I think this book would be interesting to art and art history students, collectors, art lovers, and those who (like me) enjoy knowing a little more about the artwork we admire in museums.
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