When Oskar Reinhart (1885-1965) bequeathed a significant part of his remarkable art collection - chiefly of French nineteenth-century painting but also containing a number of outstanding Old Masters - to the Swiss nation, he did so on condition that the works of art would never be loaned. As a consequence the many very important works in the collection have not been discussed in major exhibition catalogues and have not received the scholarly attention they deserve. This volume, with full entries on the entire collection of 207 works by 45 leading scholars in their field, both American and European, and superb plates carefully checked against the originals, sets out to rectify this state of affairs. Artists represented by several works in the collection that Reinhart made his monument include: Cezanne (11), Chardin (4), Corot (9), Courbet (10), Daumier (20), Delacroix (9), Gericault (2), Van Gogh (5), Maillol (8), Manet (4), Picasso (4), Pissarro (2), Renoir (15), Sisley (2). A well illustrated introduction explains the ideas and context behind Reinhart's collecting and affords insights into his character.

Inspiration for architects and urban planners, this text presents a re-evaluation of a material finally coming into its own in the 21st century - concrete. The text is illustrated with projects from some of the biggest-name architects around.

The Private Collector’s Museum connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction. By exploring a range of in-depth contemporary case studies, the book aims for a more complex understanding of the private collector’s museum, assessing how it is realised, funded and understood in a broader cultural context. It examines the ways in which this particular museum model has evolved within a historical Western tradition of collecting and museum-building, and considers how private museums will endure alongside their public counterparts. It also sheds light on the shifting patterns of collecting, such as the transition of personal art collections into the public sphere. The developments are situated within the wider context of private–public engagement in general. Providing a new analysis of philanthropy, public access and the museum, The Private Collector’s Museum is essential reading for scholars and students interested in the private museum, and key reading for those interested in related issues.