Notes Upon Certain Masters Of The Xix Century

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Notes Upon Certain Masters of the XIX Century HE exhibition in June, 1883, in the rue de Seze, of one hundred of the most celebrated paintings then owned in Paris was the most notable event of its kind that had happened in the artistic history of that city. Americans who were abroad in that year and saw this. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This transatlantic study analyses a missing chapter in the history of art collecting, the first art market bubble in the United States. In the decades following the Civil War, French art monopolized art collections across the United States. During this “Gilded Age picture rush,” the commercial art system-art dealers, galleries, auction houses, exhibitions, museums, art journals, press coverage, art histories, and collection catalogues-established a strong foothold it has not relinquished to this day. In addition, a pervasive concern for improving aesthetics and providing the best contemporary art to educate the masses led to the formation not only of private art collections, but also of institutions such as the Metropolitan Museum of Art and to the publication of art histories. Richly informed by collectors' and art dealers' diaries, letters, stock books, journals, and hitherto neglected art histories, The New York Market for French Art in the Gilded Age, 1867-1893 offers a fresh perspective on this trailblazing era.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1886 edition. Excerpt: ... Antoine Louis Barye NTIMATELY associated with the great phalanx of genius so sympathetically and instructively considered by M. Wolff was one who in his own region of art stood second to none that then was or that had gone before. This was BARYE, the greatest and, in his time, the most misunderstood genius of the century. Inasmuch as a not indifferent opportunity is afforded to know the work of the great sculptor, it will be interesting to note what thai accomplished critic, M. GustAve Planch, wrote of him in 1854, when there were yet to be unfolded over twenty years of his glorious career. JOR twenty years Barye's works have been before the eyes of the public; they are numerous, and deservedly admired, but notwithstanding this, no one has yet taken the trouble to study them as a whole. I am going to try to fill that vacuum. M. Barye's talent is at the present time in the fullness of its maturity, but he has not spoken his last word. Notwithstanding its continuance and its diversity, it is to be doubted if he stops at the point he has attained. Therefore, what I will say of his collective work must not be considered as final. Is it necessary to add that I do not pretend, in expressing my own opinion, to anticipate that of posterity? In a case like this, modesty is always prescribed by good sense. If I venture at present to form an opinion, it is because M. Barye's talent, without being false to its origin, has nevertheless already undergone a succession of transformations; and that there is in these same transformations matter for interesting study. I am perfectly sure that to this day M. Barye adheres to the convictions he held twenty years ago; but in ferreting out with as much ardor the secrets of nature, which he took as a model and...

Surprisingly, the story of how William Walters and his son Henry created one of the finest privately assembled museums in the United States has not been told."--BOOK JACKET.