The Duilio Peruzzi Scholarship Fund Scholarship Benefits

Total Page：16

File Type：pdf, Size：1020Kb

The County of Santa Clara Sister County Commission: The Duilio Peruzzi Scholarship Fund Scholarship Benefits ● Provided an opportunity to gain experience applying for a scholarship & self representation, continued in applying for art shows and writing art statements ● Helped me experience & absorb various aspects of Italian culture ● Provided funds which made work- life balance easier & encouraged a cultural rounding of my studies abroad ● Made me realize the importance of globally connected organizations - how they assist fostering relationships and exchanges that are transformative and connecting Enjoying Florence! M y St udy Exper ience and Lif e Abr oad I n Flor ence, I t aly Joyfu l arrival in Figuring the out how Florence to Peretola navigate Airport the city Some fun and unique things Celebratory wine at our apartment! to see in Florence We’re officially living in Florence! Accadem ia di Belle Arti di Firenze CSU I P Flor ence St udy Cent er Accadem ia Orientation Day Around the school ArtClash 2018 Opening held at Accademia in the Sala Ghiberti, curated by artist Marsha Steinberg (with CSU IP Florence) Helping with hanging a friend’s painting in Palazzo Strozzi Cafe M y painting for ArtClash Events and Highlights in Florence Wandering Renaissance streets, The Uffizi & Calcio Storico in Piazza Santa Croce First Fiorentina football game, Potted plants, First gelato festival at Piazzale Michelangelo Galleria dell’Accademia, Loggia dei Lanzi, Basilica di Santa Maria Novella, Chiesa di Orsanmichele Erm al M eta at Piazzale Michelangelo, Basilica di San Miniato al Monte Cemetery of San Miniato, Sunsets along Arno River Laboratorio Di Restauro (book conservation/ restoration laboratory) Anatom ical wax sculpture at the Museo La Specola di Firenze A Snow day in Florence, Studio Art students and M arsha farewell dinner & fireworks for San Giovanni holiday on a rooftop with Italian friends Travel: Exploring Italy with the Peruzzi Scholarship Rom a Bernini sculptures at the Galleria Villa Borghese, The Pantheon, Fontana dei Quattro Fium i Venezia Sightseeing, Church going, Art viewing, Getting Lost Cinque Ter r e Hiking, sightseeing, swim m ing, wine tasting Lucca Vie w o f Florence from Fiesole Siena & Piombino Duom o di Siena, Torre del Mangia, Torre dell'Orologio, Mare Tirreno What I lear ned ● Overcom ing personal challenges & how to deal with navigating new situations & places ● How to be more direct and patient in com m unicating ● How to promote, organize and prepare for art shows, how to apply & present myself for a juried art show ● Italian art & history ● How to study a new language and speak it, techniques for two new- to- me art forms The whole CSU IP Firenze 2017- 2018 class in Milano Does this scholarship funded trip change my plan for the future? ● Consider applying for other grants, residencies or scholarships for future art/education endeavors ● Getting to know a place when you travel is im portant and crucial to im proving the lives of residents rather than being annoying tourists ● I m ade a few friends who will likely com e to m e when they want to visit the US, which means I will be able to help them experience the US like they helped me see Italy :] ● Being m ore helpful with international students Thank you Grazie .

Copy Link

Recommended publications

Florence Next Time Contents & Introduction
TABLE OF CONTENTS Introduction Conventional names for traditional religious subjects in Renaissance art The Cathedral of Florence (Duomo) The Baptistery Museo dell’Opera del Duomo The other Basilicas of Florence Introduction Santissima Annunciata Santa Croce and Museum San Lorenzo and Medici Chapels San Marco and Museum Santa Maria del Carmine and Brancacci Chapel Santa Maria Novella and Museum San Miniato al Monte Santo Spirito and Museum Santa Trinita Florence’s other churches Ognissanti Orsanmichele and Museum Santi Apostoli Sant’Ambrogio San Frediano in Cestello San Felice in Piazza San Filippo Neri San Remigio Last Suppers Sant’Apollonia Ognissanti Foligno San Salvi San Marco Santa Croce Santa Maria Novella and Santo Spirito Tours of Major Galleries Tour One – Uffizi Tour Two – Bargello Tour Three – Accademia Tour Four – Palatine Gallery Museum Tours Palazzo Vecchio Museo Stefano Bardini Museo Bandini at Fiesole Other Museums - Pitti, La Specola, Horne, Galileo Ten Lesser-known Treasures Chiostro dello Scalzo Santa Maria Maggiore – the Coppovaldo Loggia del Bigallo San Michele Visdomini – Pontormo’s Madonna with Child and Saints The Chimera of Arezzo Perugino’s Crucifixion at Santa Maria dei Pazzi The Badia Fiorentina and Chiostro degli Aranci The Madonna of the Stairs and Battle of the Centaurs by Michelangelo The Cappella dei Magi, Palazzo Medici-Riccardi The Capponi Chapel at Santa Felicita Biographies of the Artists Glossary of Terms Bibliography SimplifiedTime-line diagram Index INTRODUCTION There can’t be many people who love art who won’t at some time in their lives find themselves in Florence, expecting to see and appreciate the incredibly beautiful paintings and sculptures collected in that little city.
[Show full text]
Contents Inhalt
34 Rome, Pantheon, c. 120 A.D. Contents 34 Rome, Temple of Minerva Medica, c. 300 A.D. 35 Rome, Calidarium, Thermae of Caracalla, 211-217 A.D. Inhalt 35 Trier (Germany), Porta Nigra, c. 300 A.D. 36 NTmes (France), Pont du Gard, c. 15 B.C. 37 Rome, Arch of Constantine, 315 A.D. (Plan and elevation 1:800, Elevation 1:200) 38-47 Early Christian Basilicas and Baptisteries Frühchristliche Basiliken und Baptisterien 8- 9 Introduction by Ogden Hannaford 40 Rome, Basilica of Constantine, 310-13 41 Rome, San Pietro (Old Cathedral), 324 42 Ravenna, Sant' Apollinare Nuovo, c. 430-526 10-19 Great Buildings of Egypt, Mesopotamia and Persia 42 Ravenna, Sant'Apollinare in Classe, 534-549 Grosse Bauten Ägyptens, Mesopotamiens und Persiens 43 Rome, Sant' Agnese Fuori Le Mura, 7th cent. 43 Rome, San Clemente, 1084-1108 12 Giza (Egypt), Site Plan (Scale 1:5000) 44 Rome, Santa Costanza, c. 350 13 Giza, Pyramid of Cheops, c. 2550 B.C. (1:800) 44 Rome, Baptistery of Constantine (Lateran), 430-440 14 Karnak (Egypt), Site Plan, 1550-942 B.C. (1:5000) 44 Nocera (Italy), Baptistery, 450 15 Abu-Simbel (Egypt), Great Temple of Ramesses II, c. 1250 B.C. 45 Ravenna, Orthodox Baptistery, c. 450 (1:800, 1:200) 15 Mycenae (Greece), Treasury of Atreus, c. 1350 B.C. 16 Medinet Habu (Egypt), Funerary Temple of Ramesses II, c. 1175 B.C. 17 Edfu (Egypt), Great Temple of Horus, 237-57 B.C. 46-53 Byzantine Central and Cross-domed Churches 18 Khorsabad (Iraq), Palace of Sargon, 721 B.C.
[Show full text]
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
[Show full text]
Cellini Vs Michelangelo: a Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia
International Journal of Art and Art History December 2018, Vol. 6, No. 2, pp. 22-30 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n2p4 URL: https://doi.org/10.15640/ijaah.v6n2p4 Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia Maureen Maggio1 Abstract: Although a contemporary of the great Michelangelo, Benvenuto Cellini is not as well known to the general public today. Cellini, a master sculptor and goldsmith in his own right, made no secret of his admiration for Michelangelo’s work, and wrote treatises on artistic principles. In fact, Cellini’s artistic treatises can be argued to have exemplified the principles that Vasari and his contemporaries have attributed to Michelangelo. This paper provides an overview of the key Renaissance artistic principles of furia, forza, difficultà, terriblità, and fantasia, and uses them to examine and compare Cellini’s famous Perseus and Medusa in the Loggia deiLanzi to the work of Michelangelo, particularly his famous statue of David, displayed in the Galleria dell’ Accademia. Using these principles, this analysis shows that Cellini not only knew of the artistic principles of Michelangelo, but that his work also displays a mastery of these principles equal to Michelangelo’s masterpieces. Keywords: Cellini, Michelangelo, Renaissance aesthetics, Renaissance Sculptors, Italian Renaissance 1.0Introduction Benvenuto Cellini was a Florentine master sculptor and goldsmith who was a contemporary of the great Michelangelo (Fenton, 2010). Cellini had been educated at the Accademiade lDisegno where Michelangelo’s artistic principles were being taught (Jack, 1976).
[Show full text]
To Be Visited in Florence
10 Places you can’t miss… 1. Piazza Duomo In Piazza Duomo there are three masterpieces that cannot be missed. Florence’s beautiful Gothic cathedral, named Santa Maria del Fiore (Saint Mary of the Flower) can hold 20.000 people. Its exterior is made of green, pink, and white marble. Brunelleschi's Dome, La Cupola, is a masterpiece. You can climb the 463 steps to its top. The Baptistery is one of Florence's oldest buildings. It is made of green and white marble and has three sets of amazing bronze doors, one of them is so beautiful that Florentine people named it The Door of Paradise. The bell tower, known as the Campanile di Giotto, was designed by the famous artist Giotto. 2. Piazza della Signoria and Palazzo della Signoria Piazza della Signoria, Signorìa Square, is the heart of the historic center. It has been Florence's political center since the middle ages and Florence's town hall, the beautiful medieval Signoria Palace, sits on the piazza. 3. The Uffizi Loggia and the Uffizi Gallery This is one of the most famous museums of paintings and sculpture in the world. Its collection includes several universally acclaimed masterpieces of all time, including works by Michelangelo, Leonardo da Vinci, Raffaello, Botticelli, Giotto, Simone Martini, Piero della Francesca, Frà Angelico, Filippo Lippi, Mantegna, Correggio, and Caravaggio. German, Dutch and Flemish masters are also well represented with important works by Dürer, Rembrandt and Rubens. The Uffizzi Loggia can be visited anytime even when the gallery is closed. 4. Ponte Vecchio The Ponte Vecchio, the old bridge, was Florence's first bridge across the Arno River and is the only surviving bridge from Florence's medieval days as the others were destroyed in World War II.
[Show full text]
1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
[Show full text]
La Collezione Delle Cere Anatomiche the Anatomical Wax Collection Marta Poggesi
Le collezioni The Collections Fig. 1 La collezione delle cere anatomiche The anatomical wax collection Marta Poggesi La storia della ceroplastica fino a tutto il ’600 sia dalle autorità civili sia, anatomica e i suoi scopi soprattutto, da quelle religiose. Tuttavia fino dalla metà del ’400 cominciarono a compari- L’uso della cera per modellare figure ha re disegni e trattati anatomici, generalmente origini antichissime, soprattutto in campo a cura di pittori e scultori quali Leonardo da artistico, ed è dovuto sia a fini puramente Vinci, Michelangelo, Raffaello, Tiziano, solo estetici, sia ad esigenze di tipo tecnico, come per citare alcuni dei più famosi. Spesso ad la facilità di lavorazione o la necessità di una essi si affiancavano valenti studiosi di anato- successiva fusione dell’opera in metallo. A mia (basterà ricordare il Falloppio, il Cesal- Firenze, nel Rinascimento e fino a tutto il pino, il Vesalio) che si avvalevano dell’opera ’600 si potevano ammirare nelle chiese, so- di artisti per illustrare i loro trattati. prattutto Orsammichele e la Santissima An- Alla fine del XVII secolo, un artista si- nunziata, un’enorme quantità di oggetti in racusano, Gaetano Giulio Zumbo (1656- cera (ex-voto o «boti»), che andavano da raf- 1701) [fig. 1], del quale si conservano alla figurazioni di membra, organi o parti di essi Specola gran parte delle opere conosciute, a ritratti e statue anche a grandezza natura- si perfezionò a Bologna (dove esisteva una le; fu proprio nel XVII secolo che iniziarono famosa scuola di anatomia) nell’arte di mo- a comparire le prime riproduzioni in cera a dellare preparati anatomici usando per pri- scopo scientifico.
[Show full text]
On Display at La Specola Museum
TfK 1-2010 ombrukket_TfK 1-2-2007 02.03.10 15.55 Side 38 “Exotism” on display at La Specola Museum Gianna Innocenti Museo di Storia Naturale dell’Università degli Studi di Firenze [email protected] Keywords Abstract Natural History In Florence, “La Specola” Museum was first opened to the public in 1775, by order of the Museums, enlightened Grand Duke Peter Leopold of Lorraine who wished to put together all the La Specola, “natural curiosities” from his collections, as well as from the Medici ones, in the context natural curiosities of an enlightened project of popular education. The zoological collections consisted of many Italian and foreign specimens, and among them on display were several amazing animals, peculiar for their provenance, rarity or dimension that gave rise to the social imagination of the Museum visitors. This paper provides a selection of the unusual animals on display and gives an account of their arrival at La Specola Museum as many specimens have a “story” to tell the visitor. Introduction of February, 1775 (Barbagli 2009:58; The Florentine Museum “La Specola” was Contardi 2009:15). In the subsequent founded in 1771 as the Royal Imperial years, the Museum became a well known Museum of Physics and Natural History, place for the Florentine people, so much so by order of the Grand Duke Peter Leopold that it was simply and popularly known as of Lorraine. It was his aim to reunite all the “La Specola”. The name “Specola” was for material related to natural history, i.e. “nat- the astronomical observatory located in its ural curiosities”, scientific artefacts and tower, which was built in 1789 (Miniati instruments, from the Medici collections, 1984:212), and soon developed into a separating them from the art collections town institution.
[Show full text]
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed.
[Show full text]
Questa Speciale Pubblicazione Permette Di Seguire Un Itinerario Tra Luoghi Di Firenze E Della Toscana Per Celebrare Una Stagione Unica Per La Storia Dell’Arte
Questa speciale pubblicazione permette di seguire un itinerario tra luoghi di Firenze e della Toscana per celebrare una stagione unica per la storia dell’arte. This special booklet is designed to offer you an Con Verrocchio, il maestro itinerary embracing sites di Leonardo, Palazzo in Florence and Tuscany, Strozzi celebra Andrea del to celebrate a truly unique Verrocchio, artista simbolo del season in the history of art. Rinascimento, attraverso una grande mostra che ospita oltre With Verrocchio, Master of 120 opere tra dipinti, sculture Leonardo, Palazzo Strozzi e disegni provenienti dai più celebrates Andrea del importanti musei e collezioni Verrocchio, an emblematic artist del mondo. L’esposizione, of the Florentine Renaissance, con una sezione speciale al in a major exhibition showcasing Museo Nazionale del Bargello, over 120 paintings, sculptures raccoglie insieme per la prima and drawings from the volta celebri capolavori di world’s leading museums and Verrocchio e opere capitali dei collections. The exhibition, più famosi artisti della seconda with a special section at the metà del Quattrocento Museo Nazionale del Bargello, legati alla sua bottega, come brings together for the first time Domenico del Ghirlandaio, both Verrocchio’s celebrated Sandro Botticelli, Pietro masterpieces and capital works Perugino e Leonardo da Vinci, by the best-known artists il suo più famoso allievo, di associated with his workshop in cui sarà possibile ricostruire la the second half of the 15th century formazione e lo scambio con il such as Domenico Ghirlandaio, maestro attraverso eccezionali Sandro Botticelli, Pietro Perugino prestiti e inediti confronti. and Leonardo da Vinci, his most famous pupil, reconstructing Leonardo’s early artistic career and interaction with his master thanks to outstanding loans and unprecedented juxtapositions.
[Show full text]
Birth and Life of Scientific Collections in Florence
BIRTH AND LIFE OF SCIENTIFIC COLLECTIONS IN FLORENCE Mara Miniati 1 RESUMO: em Florença. Este artigo descreve as trans- formações ocorridas entre os séculos 18 e O artigo centra-se na história das coleções 19 na vida cultural da capital da Toscana: as científicas em Florença. Na era dos Medici, artes e ciências foram promovidos, e os flo- Florença foi um importante centro de pes- rentinos cultivados estavam interessadas no quisa científica e de coleções. Este aspecto desenvolvimento recente da física, na Itália e da cultura florentina é geralmente menos no exterior. Nesse período, numerosas co- conhecido, mas a ciência e coleções científi- leções científicas privadas e públicas de Flo- cas foram uma parte consistente da história rença existentes, que eram menos famosas, da cidade. O recolhimento de instrumentos mas não menos importantes do que as co- científicos era um componente importante leções Médici e Lorena se destacaram. Final- das estratégias políticas dos grão-duques flo- mente, o artigo descreve como as coleções rentinos, convencidos de que o conhecimen- florentinas se desenvolveram. A fundação to científico e controle tecnológico sobre do Instituto e Museu de História da Ciência a natureza conferiria solidez e prestígio ao deu nova atenção aos instrumentos cientí- seu poder político. De Cosimo I a Cosimo ficos antigos. Sua intensa atividade de pes- III, os grão-duques Médici concederam o seu quisa teve um impacto sobre a organização patrocínio e comissões sobre gerações de do Museu. Novos estudos levaram a novas engenheiros e cientistas, formando uma co- atribuições aos instrumentos científicos, as leção de instrumentos matemáticos e astro- investigações de arquivamento contribuiram nômicos, os modelos científicos e produtos para um melhor conhecimento da coleção, naturais, exibidos ao lado das mais famosas e os contactos crescentes com instituições coleções de arte na Galleria Uffizi, no Pala- italianas e internacionais feitas do Museu zzo Pitti, e em torno da cidade de Florença tornaram-no cada vez mais ativo em uma e outros lugares da Toscana.
[Show full text]
Passaporto Per Denaro E Bellezza Passport to Money and Beauty Passaporto Per Denaro E Bellezza
PASSAPORTO PER DENARO E BELLEZZA PASSPORT TO MONEY AND BEAUTY PASSAPORTO PER DENARO E BELLEZZA Le banche rappresentano una parte talmente importante del mondo moderno che è impossibile immaginarlo senza di esse; tuttavia sono un’invenzione relativamente recente, nata dalla crescente mobilità e dal commercio sviluppatosi a partire dalla fne del XII secolo. Le grandi famiglie toscane di mercanti-banchieri – Bardi, Peruzzi e, molto più tardi i Medici – hanno lasciato durevoli testimonianze del proprio talento in campo fnanziario, non solo accumulando enormi fortune, ma traducendole in opere d’arte che sono divenute parte del patrimonio culturale mondiale. La più antica banca al mondo ancora operante – il Monte dei Paschi – fu fondata a Siena nel 1472, solo 25 anni prima dei “roghi delle vanità” del predicatore integralista Savonarola, per i quali i forentini consegnarono per essere bruciate le “cose vane” preziose come gioielli, specchi e opere d’arte possedute. Denaro e Bellezza. I banchieri, Botticelli e il rogo delle vanità non è una mostra su un singolo artista, sebbene si chiuda con molti dipinti di Botticelli e presti particolare attenzione all’infuenza esercitata su di lui da Savonarola. È qualcosa di anche più interessante: una mostra sulla nascita in Toscana del moderno sistema bancario. James M. Bradburne PASSPORT TO MONEY AND BEAUTY Banks are such an important part of the modern world that it is almost impossible to imagine the world without them. Nevertheless, banks are a relatively recent invention, born from increased mobility and growing European trade in the late 12th century. The great Tuscan banking families—the Bardi, the Peruzzi, and of course much later, the Medici—created lasting monuments to their fnancial ingenuity, not only by amassing vast fortunes, but by translating those fortunes into the works of art that have become a part of the world’s cultural heritage.
[Show full text]