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{PDF EPUB} Self-Portrait with Donors Confessions of an Art Collector by John Walker ISBN 13: 9780316918039

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{PDF EPUB} Self-Portrait with Donors Confessions of an Art Collector by John Walker ISBN 13: 9780316918039 Read Ebook {PDF EPUB} Self-Portrait with Donors Confessions of an Art Collector by John Walker ISBN 13: 9780316918039. Self-portrait with donors;: Confessions of an art collector. Walker, John. This specific ISBN edition is currently not available. From Kirkus Reviews, Oct. 1974: The title is something of a trompe l'oeil -- Walker, first the curator, then the director of Washington's National Gallery since its inception -- reveals very little of himself and is always modest and courteous in this guided tour of his life as an intermediary -- ""collecting collectors who would. become donors."" After Harvard, Walker spent three of his best and happiest years in the tutelage of Berenson in his beautiful sanctuary, I Tatti -- then as a still very young man assisted Mellon with his new gallery. His book rarely deals in the covert, avid scuffle for great works although his purchase of Leonardo's inaccessible Ginevra de Benci, from Liechtenstein, took a persistent sixteen years. Mostly he discusses men of great wealth who were able to vicariously achieve immortality through their acquisitions and later benevolences: two generations of Mellons; the Kress brothers; the tenacious Chester Dale guided by the taste of his wife; bargain hunter- entrepreneur ArmandHammer who liked to buy but then give away; Walker's close friends the Wrightsmans who he claims have the ""finest collection"" in the US. Walker teaches and chides from experience: collect contemporaries when you are young; beware of fashion (and the Impressionists); buy only what you genuinely love, although the collector inevitably becomes insatiable. And additional caveats for museums in an expansionist era. All of which is to say that with genuine luster rather than the hustling chutzpah and razzle-dazzle of Duveen, Walker quietly ministered to the higher interests of art, artists and proud possessors. "synopsis" may belong to another edition of this title. Shipping: US$ 3.00 Within U.S.A. Customers who bought this item also bought. Top Search Results from the AbeBooks Marketplace. 1. Self-portrait with donors;: Confessions of an art collector. Book Description Condition: new. Seller Inventory # BBB_newH_0316918032. 2. Self-Portrait With Donors: Confessions of an Art Collector. Walker, John, Book Description Condition: New. New. Seller Inventory # Q-0316918032. 3. Self-portrait with donors;: Confessions of an art collector. Book Description Condition: New. A+ Customer service! Satisfaction Guaranteed! Book is in NEW condition. Seller Inventory # 0316918032- 2-1. 4. Self-portrait with donors;: Confessions of an art collector. Book Description Hardcover. Condition: New. Brand New!. Seller Inventory # VIB0316918032. NATIONAL GALLERY OF ART. NATIONAL GALLERY OF ART. In December 1936, Andrew W. Mellon offered to build an art gallery for the United States in Washington, D.C., and to donate his superb art collection to the nation as the nucleus of its holdings. President Franklin D. Roosevelt recommended acceptance of this gift, described as the largest to the national government up to that time. On 24 March 1937, the Seventy-fifth Congress approved a joint resolution to establish the National Gallery of Art as an independent bureau of the Smithsonian Institution. The Genesis of the National Gallery of Art. Andrew W. Mellon (1855–1937), one of America's most successful financiers, came to Washington in 1921 as secretary of the treasury, a position he held until 1932. While in Washington, he came to believe that the United States capital needed a great art museum to serve Americans and visitors from abroad. He had begun to collect paintings early in life, yet he made his most important purchases after his plans for the national art gallery began to take shape. Most notably, in 1930 and 1931 Mellon purchased twenty-one paintings from the Hermitage Museum in Leningrad, USSR. He paid a total of more than $6.6 million for the works, including The Annunciation by Jan van Eyck, The Alba Madonna by Raphael, and A Polish Nobleman by Rembrandt. In 1930, he formed the A. W. Mellon Educational and Charitable Trust to hold works of art and funds to build the new museum. The institution that Mellon envisioned was to blend private generosity with public ownership and support. He laid out his proposals in two letters of 22 December 1936 and 31 December 1936 to President Franklin D. Roosevelt. These letters became the basis for the museum's enabling legislation. Mellon believed the museum should belong to the people of the United States and that the entire public "should forever have access" to it. To accomplish this, it should be open to the public without charge and maintained by annual Congressional appropriation. At the same time, however, Mellon believed the museum, which would be built with private funds, should grow through gifts of works of art from private citizens. To encourage such gifts, Mellon stipulated that the museum not bear his name but be called "the national gallery of art or such other name as would identify it as a gallery of art of the National Government." To ensure its excellence, he also stipulated that all works of art in the museum be of the same high standard of quality as his own extraordinary collection. Reflecting the combined public and private character of the museum, its enabling legislation specifies that the National Gallery of Art will be governed by a board of nine trustees consisting of four public officials: the Chief Justice of the United States, the Secretary of State, the Secretary of the Treasury, and the Secretary of the Smithsonian Institution, and five private citizens. Mellon selected architect John Russell Pope (1874– 1937), one of the best known architects of his generation, to design the museum's original West Building. The building Pope planned is classic in style, but thoroughly modern in its proportions and structure. The location of the museum was of particular concern to Mellon. He believed that it should be close to other museums and accessible for visitors. After considering various alternatives, he selected a site on the north side of the national Mall, close to the foot of Capitol Hill near the intersection of Constitution and Pennsylvania Avenues. Construction of the West Building began in June 1937. In August 1937, less than three months later, Andrew W. Mellon died. John Russell Pope died less than twenty-four hours later. The building was completed by Pope's associates, architects Otto Eggers and Daniel P. Higgins, under the direction of the A. W. Mellon Educational and Charitable Trust. Dedication. On the evening of 17 March 1941, the National Gallery of Art was dedicated before a gathering of roughly nine thousand invited guests. Andrew Mellon's son Paul presented the gift of the museum and the Mellon Collection to the nation on behalf of his father. In accepting the gift for the people of the United States, President Franklin D. Roosevelt concluded the ceremonies: "The dedication of this Gallery to a living past and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on." In keeping with Andrew Mellon's vision for the National Gallery of Art, by the time of the museum's dedication, its collections were already being augmented by gifts from other donors. In July 1939, Samuel H. Kress (1863–1955), founder of the chain of five and dime stores, had offered the museum his large collection of mostly Italian Renaissance art. The great Widener Collection, including paintings by Rembrandt, Vermeer, El Greco, Degas, and others, also had been promised. Nonetheless, vast possibilities remained for further expansion. The War Years. The museum opened on the eve of World War II. Less than ten months after its dedication, on 1 January 1942, the Gallery's most important works of art were moved for safekeeping to Biltmore House in Asheville, North Carolina. The museum remained open throughout the war and made every effort to make its rooms welcoming to men and women of the armed services. Following the example of the National Gallery in London, the museum began a series of Sunday afternoon concerts to entertain and inspire visitors. The concerts proved so successful that they were extended throughout the war and continue to the present. The National Gallery of Art was instrumental in the establishment and work of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (the Roberts Commission). At the request of a number of organizations and individuals in the American cultural and intellectual community, on 8 December 1942 Chief Justice of the United States Harlan Stone, then Chairman of the Board of Trustees of the National Gallery of Art, wrote President Roosevelt to ask him to set up a commission to help in protecting historic buildings and monuments, works of art, libraries, and archives in war areas. The Commission was formed as a result of this request. Its headquarters was in the National Gallery building. In December 1945, shortly after the close of hostilities, the United States Army asked the National Gallery to accept temporary custody of 202 paintings from Berlin museums until conditions permitted their return to Germany. The move proved highly controversial. Nonetheless, the works remained in secure storage at the museum until March 1948 when they were placed on public display for 40 days. Nearly a million people viewed the works during this brief period. Following the exhibition, paintings on panel were transferred to Germany and the remaining works toured to twelve other museums in the United States before being returned. The Collections. During the war and afterward, the collections of the National Gallery of Art continued to grow. In 1943, Lessing J.
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