Anne Whitney Abroad, 1867–1868
Jacqueline Marie Musacchio Mapping the “White, Marmorean Flock”: Anne Whitney Abroad, 1867–1868 Nineteenth-Century Art Worldwide 13, no. 2 (Autumn 2014) Citation: Jacqueline Marie Musacchio, “Anne Whitney Abroad, 1867–1868,” in Jacqueline Marie Musacchio et al., “Mapping the ‘White, M Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Musacchio: Mapping the “White, Marmorean Flock”: Anne Whitney Abroad, 1867–1868 Nineteenth-Century Art Worldwide 13, no. 2 (Autumn 2014) Mapping the “White, Marmorean Flock”: Anne Whitney Abroad, 1867–1868 by Jacqueline Marie Musacchio with Jenifer Bartle and David McClure, assisted by Kalyani Bhatt NOTE: Links throughout the article and endnotes, indicated by the envelope icon and globe icon , launch exhibits that trace Anne Whitney's journeys with maps, timelines, letter excerpts, and images. In the years after the Civil War a growing number of American citizens traveled to Europe. Many were aspiring artists, seeking direct contact with original works of art that they could not get at home. Although objects from ancient and Renaissance cultures were increasingly praised and prized, few were available in the United States in the nineteenth century. Public institutions like the Metropolitan Museum of Art in New York and the Museum of Fine Arts in Boston were not established until the 1870s, and though their early collections contained many plaster casts and painted copies of famous works of art, the celebrated originals remained in Europe. It was widely believed that Italy was the best place to study art; birthplace of both the Roman Empire and the Renaissance, it provided immediate access to the art and architecture nineteenth- century Americans most wanted to see.
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