Gothic Art in the Gilded Age : Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection

Brilliant, Virginia; Françoise Barbe, Agnès Bos, Alan Chong, Glyn Davies, C.D. Dickerson III, Flaminia Gennari-Santori, Jim Harris, Ronald R. McCarty, Paul F. Miller, and Charlotte Vignon

ISBN 10: 0916758567 / ISBN 13: 9780916758561

Published by Rizzoli International Publications, New York, 2009

About this Item

214 pp., 227 illustrations in color. A minor scratch to the back of the dustjacket cover, otherwise fine. Foreword by John Wetenhall and Trudy Coxe. Acknowledgments by Virginia Brilliant and Paul F. Miller. Black cloth with gilt lettering to the spine. Illustrated endpapers. Published on the occasion of the exhibition from The John and Mable Ringling Museum of Art, Sarasota FL 16 December 2009-4 April 2010 and The Preservation Society of Newport County, Newport RI 8 May-31 October 2010. Includes bibliography and index.

Seller Inventory # 010814

Bibliographic Details

• Title: Gothic Art in the Gilded Age : Medieval and Renaissance Treasures in the Gavet-Vanderbilt-Ringling Collection
• Publisher: Rizzoli International Publications, New York
• Publication Date: 2009
• Language: English
• ISBN 10: 0916758567
• ISBN 13: 9780916758561
• Binding: Cloth
• Condition: Fine Condition
• Dust Jacket Condition: Near Fine
• Seller catalogs:
  • Art: Collections
  • Decorative Arts

About this title

Synopsis

Paintings of ruined cathedrals, mystery fiction, and nationalist claims to medieval origins for language, law, and cultural patrimony--these mark the beginning of the re-invention of the Gothic that was to become key to the Romantic Movement in early 19th-century Europe. By contrast, in the U.S., it was only after the Civil War, the spread of Ruskin s teachings, and the emergence of Gilded Age wealth that art collectors developed a taste and an interpretation for artefacts previously consigned to a Dark Age of blind faith and alien codes of representation.
In this highly original book, a team of international experts trace the history of the first sizable collection of Gothic art brought from Paris to the U.S. in 1889. Though it belonged to Alva Vanderbilt (the Commodore s daughter-in-law), it was sold to John Ringling in 1927 and is now part of the Ringling Museum.
The essays explain why early Italian paintings, including a masterpiece by Piero di Cosimo, could be regarded as Gothic rather than as Renaissance and show how 19th-century installations of the objects enveloped them in an atmosphere of mystery and ancient privilege.
A catalogue with color illustrations of every object in the collection makes this book indispensable to museum visitors as well as to scholars of medieval art, medieval revivals, and the history of collecting.