Master Paintings in North America reveals the astonishing variety and quality of North American collections, the results of over one hundred years of inspired collecting by individual collectors and public institutions. It may be no surprise that the Metropolitan Museum and the Frick Collection in New York and the National Gallery in Washington, D.C. have a large number of El Grecos, for example. But how many of us are aware that works by El Greco can also be found in Los Angeles and San Francisco, California; Sarasota, Florida; Glen Falls, New York; and in Ottawa and Montreal? The only guide of its kind,Master Paintings in North America provides a complete and fully captioned listing of every painting in U.S. and Canadian collections by fifty selected old master painters-from the early Renaissance to the mid-nineteenth century. This volume also contains a valuable geographical index which provides vital museum-going information: addresses, hours, and admission fees, as well as listing of other important painters represented in the museums. In addition to helping the reader locate these masterpieces,Master Painting in North America also provides the means for more fully enjoying these great treasures. The author, Mr. John Morse-a noted art historian and critic-provides brief biographical entries for each of the fifty painters, and longer essays analyzing the significance of their work. The book is lavishly illustrated with large full-page color plates as well as over one hundred black-and-white illustrations. This book is not only for the tourist, but also for the armchair traveler who can also enjoy the wonderful treasures in North America's museums. Master Paintings in North America is a beautiful addition to anyone's art-book library, and an indispensable companion for the art-living traveler, for the student and scholar.

A collection of essays by twelve scholars and museum curators examining the allure of Flemish painting to Americans over the past centuries, chronicling the roles played by determined individuals in forming private and public collections.

Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.

Essays on Benjamin West, John Singleton Copley, Charls Willson Peale, and Gilbert Stuart.

As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.

Endless Enigma: Eight Centuries of Fantastic Art explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Endless Enigma takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

The Mystery of the Madonna of Divine Love is written with the purpose of clarifying the story believed for centuries of a painting on wood created in 1518 by a pupil of Raffaello (Raphael) although everybody knew that the master had painted the original on canvas in 1514. Unfortunately, the original disappeared for 471 years (from the time of the 1544 Vasari description to 2015), and until there is an exhibit, side by side, of the two paintings, there will be only this story to reveal the truth.