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Bernard Berenson

Berenson, Bernard (bĕrˈənsən) [key], 1865–1959, American art critic and connoisseur of Italian art, b. Lithuania, grad. Harvard, 1887. An expert and an arbiter of taste, he selected for art collectors innumerable paintings, many of which are now in museums. A testament to his taste may be seen in the Isabella Stewart Gardner Museum in Boston. He was associated for many years with the British art dealer Lord Duveen as chief art adviser. Berenson settled (c.1900) in Settignano, near Florence, Italy, where he built up a fine art collection and library. He was noted as a brilliant conversationalist and wit. His home, I Tatti, became a mecca for European and American intellectuals and was willed to Harvard. Some of Berenson's early publications are still used in the study of art history, though later scholars have criticized many of his judgments. Among his many writings are Venetian Painters of the Renaissance (1894), Lorenzo Lotto (1895), Florentine Painters of the Renaissance (1896), Central Italian Painters of the Renaissance (1897), Drawings of the Florentine Painters (1903), North Italian Painters of the Renaissance (1907), Sketch for a Self-Portrait (1949), Rumor and Reflection (1952), The Passionate Sightseer (1960), Sunset and Twilight … Diaries 1947–1958, ed. by Nicky Mariano (1963), and Italian Pictures of the Renaissance (repr. 1972).

See biographies by S. Sprigge (1960), N. Mariano (1966), M. Secrest (1979), and E. Samuels (2 vol., 1979–87).

The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.

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Berenson's Michelangelo: one of Bernard Berenson's central concerns was the attribution of drawings by Michelangelo. In the first instalment of a two-part article, Carmen C. Bambach analyses Berenson's methods, with a particular focus on the drawings for the Sistine ceiling and tomb of Julius II.(Critical essay) (Apollo)

Bernard Berenson and the Twentieth Century. (Renaissance Quarterly)

Dear B.B.: Hugh Trevor-Roper's entertaining letters to Bernard Berenson reveal a great deal about attitudes to art history in post-war Oxford, and demonstrate the significance of Trevor-Roper's own approach to the subject.(Letters from Oxford to Bernard Berenson Hugh Trevor-Roper)(Book review) (Apollo)

The History Correspondent.(Letters from Oxford: Hugh Trevor-Roper to Bernard Berenson)(Book review) (Quadrant)

Letters from Oxford: Hugh Trevor-Roper to Bernard Berenson.(Brief article)(Book review) (Contemporary Review)

Berenson's Michelangelo: one of the major challenges facing Bernard Berenson was distinguishing drawings by Michelangelo from those of his associates, notably Sebastiano del Piombo. In the second instalment of a two-part article, Carmen C. Bambach analyses his successes--and failures. (Apollo)

Antonello's lost 'St Augustine' rediscovered: Joanne Wright reveals a major discovery: an altarpiece panel by Antonello da Messina, depicting St Augustine. Now in a private collection, it was formerly known only from a photograph owned by Bernard Berenson. (Apollo)

Violating the Second Commandment's Taboo: Why Art Historian Meyer (Forward)

Time to brush up the tactile values.(European Fine Art Fair)(Viewpoint essay) (Apollo)

The Voltaire of St Aldates (The Spectator)

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