Bernard Berenson
Formation and Heritage VILLA I TATTI SERIES, 31 Bernard Berenson Formation and Heritage
Joseph Connors and Louis a. WaLdman
ViLLa i TaTTi
VILLA I TATTI SERIES, 31 The harVard uniVersiTy CenTer for iTaLian renaissanCe sTudies © Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc.
-- Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references and index. - - - - (rst) . Berenson, Bernard, – . . Art criticsUnited States. I. Connors, Joseph. . . dc [B]
Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications
Cover illustration: William Rothenstein, Bernard Berenson, . Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. . Both images are from the Berenson Collection, Villa I Tai e Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents
One Introduction
Two Bernard Berenson and Jean Paul Richter e Giambono’s Provenance
Three Art, Commerce, and Scholarship e Friendship between O o Gutekunst of Colnaghi and Bernard Berenson
Four Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court
Five Bernard Berenson and “Tactile Values” in Florence
Six Bernard Berenson’s Florence,
Seven Bernard Berenson and Aby Warburg Absolute Opposites Eight Bernard Berenson and Islamic Culture “ ought and Temperament”
Nine Bernard Berenson and Asian Art
Ten Bernard Berenson and Kenneth Clark A Personal View -
Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Ta i
Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship
Thirteen “e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr.
vi Contents Fourteen e Antiquarian Carlo Alberto Foresti of Carpi, a Correspondent of Bernard Berenson Unknown Documents for the History of a Dispersed Collection
Fifteen Bernard Berenson and Archer Huntington
Sixteen Bernard Berenson and Count Umberto Morra “Do Not Forget Me”
Seventeen Bernard Berenson and Katherine Dunham Black American Dance
Bibliography Contributors Index
vii Contents seventeen
Bernard Berenson and Katherine Dunham
Black American Dance
Joseph Connors
, an obituary appeared in the New York Times for Katherine Dun- oham, who had died at the age of . It had high praise for her achievement in the world of dance: “By creating popular and glamorous revues based on African and Caribbean folklore, Miss Dunham acquainted audiences, both on Broadway and around the world, with the historical roots of black dance.” e article went on to speak of her achievement in founding, in the s, America’s rst self-supporting black modern-dance troupe,
At the Morris Library Special Collections, I oer sincere thanks to Pam Hackbart-Dean, Lea (Broaddus) Agne, and Aaron Lisec, as well as to I Tai Fellow Holly Hurlburt, for facilitating my long-distance research in every way. At the Biblioteca Berenson, where seventy-three of Katherine Dunham’s leers are deposited, I oer my warm thanks to Giovanni Pagliarulo, Sanne Wellen, and Ilaria Della Monica. For the outline of Dunham’s life and career, I am indebted to the ne biography by Joyce Aschenbrenner, Katherine Dunham: Dancing a Life ( ), and the comprehensive collection of materials in Vèvè A. Clark and Sara E. Johnson’s Kaiso! Writings by and about Katherine Dunham ( ), which is a much-enlarged second edition of Kaiso! Katherine Dunham: An Anthology of Writings (Clark and Wilkerson ). e web page “Selections from the Katherine Dunham Collection at the Library of Congress” (hp://lcweb .loc.gov/diglib/ihas/html/dunham/dunham -home.html) contains photographs and a selection of videos of Haitian dance lmed by her as well as her own performances. e timeline on the site does not always agree with Aschenbrenner’s authoritative biography. Like all contributors to this book, I am greatly indebted to Ernest Samuels’s Bernard Berenson: e Making of a Connoisseur ( ) and Bernard Berenson: e Making of a Legend ( ). See Anderson and Dunning ; for another obituary, see Sommer .
363 which had visited more than y countries on six continents. e author dwelled on Dunham’s aection for Haiti and mentioned that she eventually became a priestess of the vodun religion. It cited her choreography for Aïda at the Metropolitan Opera, her work with Georges Balanchine in , her inuence on Alvin Ailey, and her career in lm in the early s. It quoted Dunham on the diversity of response that her work inspired: “Judging from reactions the dancing of my group is called anthropology in New Haven, sex in Boston, and in Romeart!” Her many accolades culminated in an honorary doc- torate from Harvard University in , which she received along with eleven other dis- tinguished personalities of the worlds of science, economics, humanities, and politics. She counted two black presidents among her friends: Dumarsais Estimé of Haiti, who made her a Chevalier of the Légion d’Honneur et Mérite of that country in , and Léopold Senghor of Senegal, who invited her as an unocial American ambassador to the Festival of Black Arts in Dakar, Senegal, in . She is reported as saying that the three great inuences on her life were Robert Maynard Hutchins, the president of the University of Chicago at the time of her study there; Erich Fromm, the psychologist and social theorist; and Bernard Berenson. e rst two made sense, but the relationship with Berenson seemed out of charac- ter. He was forty-four years older than Dunham, and they lived continents apart. Race was still a barrier in polite European society, and it was hard to imagine common inter- ests. Indeed, in the extensive literature on Berenson there is lile mention of Katherine Dunham. For details of his private life, one usually turns to Nicky Mariano’s intimate biography. Mariano was curious about the loves of Berenson’s early life and got to know some of them: Gladys Deacon, Lady Sassoon, Belle da Costa Greene, Gabrielle Lacase, Natalie Barney, Countess Hortense Serristori. When new stars rose in the sky she could be consumed with jealousy, but eventually she became comfortable with them and ended up by enjoying his new half-amorous friendships “as a mother enjoys a new toy for her baby.” Nicky compared them to the instruments in an orchestra, though some, she said, were comparable to solo performers: Pellegrina Del Turco, who was shot by the Germans near the end of the Second World War; Clotilde Marghieri, “la Ninfa del Vesuvio,” with whom Berenson corresponded for decades; Addie (Mrs. Oo H.) Kahn; Katie Lewis; Paola Drigo of Venice; Frances Francis, wife of Henry Francis of the Cleveland Museum of Art; Freya Stark, the travel writer; Rosamond Lehmann, the novelist; Katherine Biddle, the poet. Yet Mariano remained silent on Katherine Dunham. Even the scrupulous and highly detailed biography by Ernest Samuels only accords brief mentions of Dunham’s visit to I Tai in the “social season” of and Berenson’s visit to a performance of her dances in Rome.
Harvard Magazine, July–August . Other honorands included economist Albert Hirschman, Senator Daniel Moynihan, philosopher Bernard Williams, historian Peter Brown, and former Harvard president Neil Rudenstine. Clark and Johnson , – . For example, in Hagan . Mariano . Samuels , , , .
364 Joseph Connors e published literature thus did not help to dispel the mystery enveloping Dun- ham’s claim that Berenson was a major inuence in her life. In the cloudy sky of my research, however, a rainbow nally appeared, one end resting in Florence, where Dunham’s leers are kept in the Biblioteca Berenson at Villa I Tai, and the other in Car- bondale, Illinois, where Berenson’s leers are kept amid the material Dunham donated to Southern Illinois University. I have been able to read about leers wrien in the decade between and . ey shed light on an epistolary friendship which, in spite of a near rupture at a crucial point, was deeply meaningful to both and continued until the end of Berenson’s life. Katherine Dunham was born in Chicago in to a black father, Albert Dunham, and a mother of white French-Canadian ancestry, Fanny June Dunham. She was raised in the Chicago suburb of Glen Ellyn and, aer dance lessons at school, began to study ballet seriously in . In , she entered the University of Chicago, where her older brother, Albert, was studying philosophy. Chicago was the right university for a young woman with a vibrant personality and interests equally scholarly and artistic. Founded in as a coeducational institution, there was no more open and liberal university in America. Both brother and sister lived in Bronzeville, the black theater and jazz district of Chicago. It was Albert who encouraged Katherine’s ambition to be in the theater. e poet and dancer Mark Turbyll sensed her talent in dance and wanted Dunham to become the rst black American ballerina. Although the dance establishment did not believe that classi- cal ballet was appropriate to the physique and temperament of black dancers, Dunham aended performances by Isadora Duncan and the Ballets Russes, and was taught dance by Ludmilla Speranzeva. She created the short-lived Ballet Nègre in , one of the rst black ballet companies in America, which performed in the Beaux Arts Ball in Chicago, but then was disbanded in . Dunham was highly intelligent and responded well to academic stimulus. e Uni- versity of Chicago exuded intellectual energyRobert Maynard Hutchins, the icono- clastic young president from to , saw the mission of the university as the breaking down of barriers between academic disciplines. He started the department of anthropol- ogy in and aracted to it brilliant, idiosyncratic scholars from Europe and America. e anthropology teachers and visiting lecturers of those years make an impressive list; with characteristic humor, Dunham sketches their traits:
the personal appeal and dry wit of Robert Redeld, the crashing daring of a man like Robert Warner, dapper far-travelled Fay-Cooper Cole, Margaret Mead, who exposed sexual habits in the Pacic, Malinowski, who exposed sex habits wherever he happened to be stationed, Radclie-Brown . . . a gaunt old yellow- toothed lion given to oating around the lecture hall dropping verbal bombs on tender blossomsI being one of themthen retreating and grinning at the wreckage.
Aschenbrenner , .
365 Bernard Berenson and Katherine Dunham It was Robert Redeld who realized that Dunham’s disparate inclinations, to dance and to anthropology, were not incompatible. With his support, she won a grant from the Julius Rosenwald Fund to study Caribbean dance in . It was at a Rosenwald recep- tion that she rst met Erich Fromm, who was long to remain a friend and mentor. At Columbia University, Franz Boas encouraged her, saying that she might be able to dis- cover knowledge that was inaccessible to nondancers. In , to prepare for her trip, she began to study with the anthropologist Melville Herskovits of Northwestern University. Herskovits had worked in the Caribbean, and he encouraged Dunham to visit Jamaica and to study the dances of the remaining Maroon communities, the descendants of escaped slaves who had fought (and eventually made peace with) the British colonial gov- ernment but who remained highly secretive. Aer a stop in Haiti, Dunham arrived in Jamaica in July with a recommendation from Herskovits to a colonel in the Maroon village of Accompong. She published a literary version of her eld notes in (entitled Journey to Accompong), which still makes for vivid reading. e journey of this twenty-six-year-old student to the interior of the island was not easy. No outsider had ever stayed with the Maroons more than one night; even Herskovits had only visited them for a day. Dunham made her way to their village and stayed for a month. To add to the diculties of living and eating, she found the dialect almost unintelligible and felt quite alone. She knew the ghting history of these resil- ient people, erce and distrustful of outsiders. Herskovits supposed that among them one might nd many vestiges of their West African past, such as respect for the world of spirits, polygyny, and a collectivist spirit. Dunham also hoped to see the Karomantee war dance, which was banned by the British authorities and kept highly secret, if it still existed at all. As the month wore on, however, Dunham grew more frustrated. e only dance she saw was a Maroon version of the quadrille. en, on the eve of her departure, when the colonel of the village who disapproved of the old customs was away, almost as a going-away present, she nally saw, and lmed, the Karomantee war dance. Later, when she visited the Caribbean island of Martinique, she recorded another martial dance, the l’ag’ya: “From Martinique came the ball L’agya with its Creole gaiety, its vivid festival scene, of the Mazurka, the beguine, and majumba, its zombie Forest, its superstition and its tragic ending.” Dunham participated in the dance herself. e eld anthropologist had become an insider. Haiti came to be the center of Dunham’s anthropology and life. Herskovits did exten- sive eldwork in a village called Mirebalais in , and Dunham followed in his footsteps
Ibid., ; Dunham’s relationship with Fromm, which entered a romantic phase between and , is discussed in Friedman , , –. Reviewed by Zora Neal Hurston in “irty Days among Maroons” ( ), in Clark and Johnson , – . e books by Katherine Dunham in the Biblioteca Berenson are: Journey to Accompong (Dunham ), Las danzas de Haití (Dunham ), and A Touch of Innocence (Dunham ). ese arrived during Berenson’s lifetime, while Island Possessed (Dunham ) was sent a decade aer his death. Aschenbrenner , –. Ibid., .
366 Joseph Connors with a research trip in . She was a less orthodox anthropologist than her mentor, how- ever. She formed a friendship, perhaps an intimate one, with the progressive politician Dumarsais Estimé ( – ), who was later elected to the presidency of Haiti and held the oce from to , when he was toppled by a coup and exiled to Paris. Estimé, Dunham tells us, would show her the exceptional courtesy of taking o his holster as they lay on the bed to talk. One evening, Dunham borrowed Estimé’s car under false pretenses and had his terried chaueur drive her at night to a village deep in the interior. She had heard that an old bocor (witch doctor) had died there three days before, but had still to pass on his knowledge to his apprentices, called counci. Terried of the still-living dead, the driver ed as soon as he could, leaving Dunham behind. She passed the nights sleep- ing on the oor of a village house, below the pet python of her host family. Even though she was an intrepid woman, and later in life reached a sort of communion with the snake god Damballa, she nevertheless found the experience unnerving. However, she had no fear of human violence throughout the days and nights in which knowledge was transmit- ted from the dead to the living. In , Katherine submied her thesis for a master’s degree at the University of Chicago, entitled “A Comparative Analysis of the Dances of Haiti: eir Form, Function, Social Organization, and the Interpretation of Form and Function.” It was published in Spanish and English in Mexico in , followed by a French translation in . In the preface to that edition, Claude Lévi-Strauss makes an interesting observation about Katherine’s rapport with her subjects:
To the dignitaires of the Vodun who were to become her informants, she was both a colleague, capable of comprehending and assimilating the subtleties of a com- plex ritual, and a stray soul who had to be brought back into the fold of the tra- ditional cult; for the ocks of slaves lost on the large continent to the north had forgoen how to practice and had lost the spiritual benets. ese two reasons placed the researcher in a favored position.
Like Herskovits, Dunham saw the dances of the entire Caribbean region, as far as New Orleans and other black communities of North America, as survivals of West African rituals, kept alive throughout the trauma of slavery. It would have been dicult for Dunham to go further with doctoral work in this direction, however, as Herskovits published his own magisterial book on Haiti in . He includes dance in a much larger panorama of social structure, property, wealth, marriage, vodun, and ritual, and his work is informed by a profound knowledge of both Haitian history and the anthropology of the region of Africa from which large numbers of Haitian slaves were taken, the Kingdom of Dahomey. He was very much the professional anthropologist, who observed many cases
Clark and Johnson , xviii, . Ibid., . See Herskovits for the classic statement of this position, and its reection in Katherine Dunham, “e Negro Dance” ( ), in Clark and Johnson , – .
367 Bernard Berenson and Katherine Dunham of spirit possession during dance and spoke with many informants over a long residence in his village. His contribution was to de-sensationalize vodun ritual and see it as part of the relived African ancestry of the participants. By way of contrast, Dunham is more intuitive and spontaneous in her eldwork, and less systematic in her analysis of the total culture. Long before Cliord Geertz, she under- stood the power of empathy in eldwork and saw the dramatic character of the events she was studying. Her anthropologist’s mind absorbed eld data while her dancer’s eye feasted on the theatrical element in the culture. She crossed boundaries that were not oen crossed. She spent time in a Port-au-Prince bordello watching the dances of the Dominican women who worked there. She entered vodun ritual to the point of trying to be possessed, to promise the loa (spirits) that some day she would consummate the kanzo (ceremony). Another appreciative French anthropologist, Alfred Métraux, saw her par- ticipation in the rites as the secret of her success as a eld anthropologist. In , he wrote:
her talents took her all the way to the top of the Vodun hierarchy. In any case, it is from her experience as an ethnographer, acquired right on the spot, that Katherine Dunham borrowed the most beautiful themes for her dances. She has tried to release in a nutshell the moments in which the rituals reach their highest point. Rhythms of drums, songs and dances, bring us an echo of the ceremonies that, from Cuba to the Amazon, convene the African gods on American soil.
With the encouragement of Robert Redeld, Dunham’s path would take her not into academic anthropology but into dance, turning her thesis into Broadway, as she put it in an essay of . e transfer of dance in primitive societies to the American stage was possible because the primitive dances were themselves choreographed, aer a fashion. Her task was to rechoreograph the dances and make them into high art. In , in the Federal eatre in Chicago, Dunham staged the l’ag’ya of Martinique, which culminates in a warrior dance. She wrote about it the following year in Esquire:
It is the player of the pit bois, or lile wooden sticks, who sets the basic rhythm, the drummer, who indicates the movements of the dance, the advance and the retreat, the feints, the sudden whirls and lightning like leaps in the air to sharp drops at on the ground. He indicates the marking time as the two opponents eye each other, each anticipating every gesture on the part of the other. He keeps them there, hyp- notized marionees on a string. en he hurls them into an embrace and as sud- denly tears them apart. He draws them to a crisis as their excitement and that of the crowd mounts, and again to a nale as they become exhausted. With the true nesse of a stage manager he arranges and re-arranges them to the best advantage.
See Herskovits , esp. – , “Vodun Worship: e Dance.” See especially Aschenbrenner , chap. , “Anthropology and Dance.” Clark and Johnson , . “esis Turned Broadway” ( ), in Clark and Johnson , – .
368 Joseph Connors With the quick perception of a director he senses the reactions of the audience. As the hidden prompter in the lile box beneath the footlights carries each breath of the opera singer, so he lives the performance with the two contestants. A real l’ag’ya is a pantomime cockght. But I have seen the dance of the cockght in the cockpits of Jamaica; the cockght itself in Haiti, and I nd no parallel between the droll, stac- cato struing, mincing movements of this mimicry and the deep roll of the l’ag’ya.
Dunham’s dance career began in Chicago in and soon included seasons on the New York stage in – . Her rst appearance in lm dates to , while her second, in Stormy Weather, released in , included her entire troupe. In , she went on her rst European tour, including a run at the Prince of Wales eatre in London, performing to admiring reviews and the occasional presence of royalty. She remarked that Europe saved her company, and the next years would include frequent returns to the countries she liked most, France and Italyand those she liked least, Sweden, Switzerland, and Austria. Katherine Dunham and Bernard Berenson met during her European tour of – . She had read about Berenson in Life magazine, and was brought to lunch at I Tai by Serge Tolstoy, the son of the novelist. She began the correspondence aer this meeting: “Dear B.B. (Life says that’s what friends call you .. .).” She continued it with a leer from Stockholm a fortnight later:
Dearest B.B. . . . Let me just say that I have now joined your long list of admir- ers. Unfortunately I am not adept enough in the eld of painting to do lile more about it than be thrilled by it on occasion; I do however trust myself always in personal judgements and for me my pleasure in knowing you lay in your vitality, charm and wisdom that are found only in truly great people. All of this is reected in everything around you. Well enough of compliments ...
e language of her leers quickly moves from friendship and admiration to love of some sort, as far as this was possible between a married forty-year-old woman and the
Katherine Dunham (writing as Kaye Dunn), “L’ag’ya of Martinique,” in Clark and Johnson , – , esp. – . ere is conicting evidence for the date of their rst meeting, which took place either in or . In an interview in the San Francisco Chronicle (Hagan ), Dunham says she was brought to lunch at I Tai by Serge Tolstoy in , and Samuels places her visit in that year as well (Samuels , ). Her rst leer to Berenson, wrien from Antwerp, seems at rst sight to be dated May . e nal digit is hard to read, however, and the year is impossible (though it is used for the date parameters in Bernard Berenson: An Inventory of Correspondence [Berenson , ]). It could also be read as , though in the leer, Katherine refers to the article “Life Calls on Bernard Berenson” (Life, April , – , available online through Google Books, searching “Berenson Life ”; my thanks to Jennifer Snodgrass for bringing this internet link to my aention). e article includes the phrase “Bernard Berenson, who is known as ‘B.B.’ to his friends” ( ). e leers that immediately follow in the correspondence are clearly dated May . I tend to think is the correct date for their rst meeting. Dunham to Berenson, May , Bernard and Mary Berenson Papers, Biblioteca Berenson, Villa I Taie Harvard University Center for Italian Renaissance Studies (hereaer BMBP).
369 Bernard Berenson and Katherine Dunham 1 Bernard Berenson and Katherine dunham in the garden at i Tatti, ca. 1950. Bernard and mary Berenson papers, Biblioteca Berenson, Villa i Tatti—The harvard university Center for italian renaissance studies.
eighty-ve-year-old Sage of Seignano. e initiative seems to have come from Katherine. Nicky Mariano astutely observed this general paern: “Perhaps in his relations to women, whether serious or supercial, he always preferred to let them take the rst step. Like the guests of Schlaraenland he liked to have the roast pigeons y into his mouth.” e aection and admiration of this dynamic black intellectual and artist took Bernard somewhat by surprise, but he felt the magnetism. Photographs taken in the I Tai garden of Katherine dressed in an exotic Orientalizing costume may date to this occasion (Figs. and ). A passage in Bernard’s diary shows what he was thinking on this visit:
Katherine Dunham, looking like an Egyptian queen, like Queen Ti, dressed in stu that clings to her, although of a quite current cut, particoloured green check- ered with red, draping rather more than clothing her. Whence this sureness of
Mariano , . One of the photographs is reproduced in Samuels , – , g. .
370 Joseph Connors 2 Bernard Berenson and Katherine dunham in the garden at i Tatti, ca. 1950. Bernard and mary Berenson papers, Biblioteca Berenson, Villa i Tatti—The harvard university Center for italian renaissance studies.
colour and its creative use, positive, bold, and not negative as in most of us, that seems a birthright of the Blacks? Or is it that dark chocolate or dark bronze is a background on which all colours look well, and so encourages the inventive and courageous use of them? Be that as it may, Katherine Dunham is herself a work of art, a fanciful arabesque in all her movements and a joy to the eye in colour. I won- der whether her performance will enhance these qualities for me.
He explained his feelings in a leer the next day to his long-lasting condant in Naples, Clotilde Marghieri:
Yesterday we all went to see Katherine Dunham and I was completely hypnotized by the tam-tam eect of it all, its appeal to what in one is almost pre-human. ere lurks in me a stern Puritan whom all this alarms; yet I could not help enjoying it,
Bernard Berenson, diary, February , in Berenson c, .
371 Bernard Berenson and Katherine Dunham like Saint Augustine’s penitents who confessed they could not help enjoying it when raped by the Vandals.
Clothilde knew Bernard well enough to see that he was falling in love a lile, once more, and she wrote him back:
I just heard from Derek [Hill] that Katherine Dunham is coming back from Paris to say farewell before she leaves. Instead of feeling jealous I felt admiration for her . . . and envy. Yes, a sort of envy not of her aection for you, not of yours for her. But of her youth, beauty, energy, health and spirit of enterprise, vitality in a word, which in her must be developed to the fullest, and in me is declining. And now I understand your admiration for her, and her nostalgia for the world you represent. How I should have liked to meet her and see the two of you together!
Bernard wrote back, downplaying Katherine’s charm to assuage Clotilde’s jealousy:
I fear I must disenchant you about Katherine Dunham. . . . I doubt whether she has any feeling for me of a “sentimental” nature. She may feel a bit beer for being treated as an equal by a countryman of a country where blacks are not received in private. It may be a feather in her cap to be known as frequenting I Tai. On my part, I admire her as an artist just as you would, and with a lile sex feeling. She has, as you say, great vitality and elegance and creative taste. I was entranced by her performance and it still haunts me. Last time I saw her, two days ago, her husband, a white Canadian who does the costumes and scenery of her performances, was talking to Salvemini and Raymond Mortimer. She sat apart with me and began to tell me how she feels with her personality absorbed com- pletely by the institution she has herself created. And the tears owed as we talked. ere it is, my dearest of Darlings. Perhaps my “success” with women now is so great because something in me leads them to reveal themselves to themselves. I long to see you and to embrace you. B.B.
Yet Katherine remained on his mind, and he found her rare visits fascinating:
Katherine Dunham talked with no Negroid lisp or richness of voice, on the con- trary with a cultivated accent and vocabulary, and revealed an unusually subtle but rational personality, completely free of mannerisms of any kind. She com- plained of many things, but most of all that New York was ruining her art (and all the arts) by insisting on mere newness. To produce it creators of a ballet had to
Berenson to Marghieri, February , in Biocca , . Marghieri to Berenson, March , in Biocca , . Berenson to Marghieri, March , in Biocca , – .
372 Joseph Connors hurry and fuss, and do anything sensational, being given no time to meditate and mature. She thought the best ideas come while daydreaming, ruminating, and not when searching as for a bull’s-eye in the dark.
So we have Bernard’s side of the conversation. What was Katherine thinking? At the time of their rst encounters in and , she badly needed a guiding star. Her cher- ished older brother Albert, who had watched over her through university and introduced her to theater and dance, died in aer years of hospitalization for depression. He had made a brilliant start as a philosopher at Chicago, but then, when he tried to assume an academic career, he hit the color ceiling, went into a tailspin, and withdrew into himself. His death aected Katherine enormously, and she returned to seek help from her former lover, the psychologist Erich Fromm. Berenson was a symbol of impeccable high culture to many, Katherine included, but for her he also assumed another dimension. She pro- jected emotions onto him as one might onto one’s analyst. From Paris, she would later write of her feelings of loss as she could not be near Bernard and his great store of knowl- edge and wisdom and perception: “I need a master badly at this moment and unless I am blind there are practically none le in the world.” She hoped that Berenson, with his vast erudition, might help her nd a ing subject for a play or movie that she would produce with her troupe. In , she wrote to him of her thrill on becoming pregnant, and the supportive reaction of her husband John, even though he knew that the child could not be his, and when she lost the pregnancy, she described her dejection to Bernard. Strangely, Katherine never mentioned the daughter that she and John Pra adopted in Paris at the age of four in , Marie-Christine Dunham Pra. e beautiful surroundings of I Tai meant something to her as well. In , she had acquired an estate in Haiti, Habitation Leclerc, which had been built by General Charles Victor Emmanuel Leclerc, husband of Napoleon’s sister Paulina Bonaparte. Gruesome memories of the torture of slaves during the campaign to subdue the black insurrection on the island were aached to the property; these ghosts had to be exorcized and the grounds put into order. In I Tai, she could see an example of a landscape made fruit- ful and beautiful, an ideal toward which Habitation Leclerc could aspire some day. From Buenos Aires, she wrote to tell Bernard of the many times that she had seen in her mind’s eye the quiet avenues of I Tai, and heard the buzzing of the bees, as on the rst day they sat in the empty greenhouse:
You have no idea the number of times that I see in my mind’s eye those quiet ave- nues of “I Tai” and even hear the buzzing of the bees or ies or whatever they were that rst day as we sat in the sunlight in the middle section of the empty
Bernard Berenson, diary, April , in Berenson c, . Dunham to Berenson, Paris, December , BMBP. Dunham to Berenson, Stockholm, June , BMBP. Dunham to Berenson, London, January , BMBP; Dunham to Berenson, London, February , BMBP; and Dunham to Dr. Sacha Nacht, London, February , BMBP. Clark and Johnson , xviii.
373 Bernard Berenson and Katherine Dunham greenhouse. It was a distinct childhood sound and made me feel like being some- where again that was warm, sunny and protected. I am sure that over the course of these two thousand years and more I have seen things and places as beautiful as your habitation, but they evidently have escaped me or at least are not a part of the level on which I now live and dream. It is interesting to note as I write this and unfold these thoughts to you that one of my many recurring dreams for a number of years has been a dilapidation and decay and material deprivation which was some part of the material surroundings of some part of my childhood and I work in these dreams for years and years to clean, paint, scrub, disinfect, de-mouse, de-rat and make habitable and charming this dilapidated building. Undoubtedly there is a great sharpening of impressions and it can’t have been as bad as all that, besides it is more a symbol than anything else. I think I have then hit upon our “anima” correspondence and all of these things which surround you as a waking counter-balance.
We have already seen Bernard’s reaction to her performance in Florence in . He saw her again in Rome in , and recorded his impressions in detail:
Performance of Katherine Dunham. All based on Negro beliefs, rites, and holi- day extravagances. From our point of view, it is a call of the wild, and a very suc- cessful one. It wakes up and brings to life in one even like myself the sleeping dogs of almost prehuman dreads, aversions, aberrations, appeals. e shrieks so staccato, the metal of the instruments, the dry crack of castanets, the shimmy- shakes, the stampeding, all go to one’s marrow. How all this would have horried most of us y years ago. Should have found it squalid, vulgar, shaking [shock- ing?], and now babes and sucklings come with their parents to see and hear and be entranced, hypnotized, overwhelmed. We feel at last free to return to the primi- tive, the infantile, the barbarous, the savage in us, even the way Greeks of the best period did to Bacchic rites, so wild, so cruel, so lthy!
However brief their meetings were, an aachment came to be formed between this unlikely pair. Katherine was the one who initiated it and nourished it with frequent let- ters wrien during her far-ung travels with her troupe. From Zurich, she reminded Bernard of the pleasure of receiving leers, the familiar handwriting that testies that one is thought of, that one counts: “When I read ‘Dearest Katherine’ or ‘my darling’ I feel
Dunham to Berenson, Buenos Aires, November , BMBP. Bernard Berenson, diary, October , in Berenson c, , with photograph of Katherine Dunham between and . Mariano transcribed but omied the following passage from the publication of Berenson’s diary: “Dec. , . Non-Europeans still ll me with instinctive distaste that I have to ght against and the American West African I encounter with a repulsion I nd it hard to get over, even in the case of a woman so remarkably intelligent intellectual and truly humanized as Katherine Dunham” (courtesy of Sanne Wellen).
374 Joseph Connors such pleasure and comfort,” she conded. From Lima, she wrote that she composed let- ters in bed, in her dressing room, in the bathtub, but that this was dangerous because they seemed to be geing done but weren’t. From Port-au-Prince, she wrote that “For nights on end I lie in bed and write to you on the fabric of my mind and imagination.” From Paris, she wrote that almost every day she composed a leer or at least a note: “ey are not on paper, but I will have to count on you to feel this communication.” When Bernard was at the height of his powers as a connoisseur he used to keep a fake Renaissance painting on his desk to invite the admiration of the unwary. Now he used Katherine as a touchstone in judging authenticity in people. If they approved of her, they might be all right:
Lady Mallet hitherto treated me as if I were a bad smell, and I felt toward her somewhat as I did toward Edith Wharton between our two rst meetings. Yesterday she spoke of Katherine Dunham with such penetrating, such subtle, and such delicately human admiration, that I there and then concluded that if chance favoured, she and I could be intimate friends. Even if for some interested reason she revealed what was in her, and not of any interest in me, the revelation was unmistakable, and changed my paern of her.
Southland For a brief moment at the beginning of , this new friendship was sorely tested. Katherine engaged in the most daring project of her career, and Bernard advised against it. eir love was put on ice, briey, only to return more ardently and with deeper under- standing than before. e problems arose over Bernard’s aitude to Southland, a ballet Katherine performed about a lynching in the American South. As early as , Katherine had introduced the theme into the ballet Tropic Death, performed at the Young Men’s Hebrew Association in New York. In it, her teacher, Talley Beay, was cast as a fugitive from a lynch mob. e subject was highly topical in these years. Between and , forty-three lynchings of mostly southern blacks were reported, as well as hundreds of close escapes. ere were no prosecutions. e National Association for the Advancement of Colored People had fought for a federal antilynching bill for thirty years, but it was killed in the US Congress in . Protest came in poetry, music, and dance, especially in Strange Fruit, the song of that was popularized by
Dunham to Berenson, August , BMBP. Dunham to Berenson, Lima, January , BMBP. Dunham to Berenson, Port-au-Prince, June , BMBP. Dunham to Berenson, Paris, October , BMBP. Bernard Berenson, diary, November , BMBP, but not included in Berenson c (courtesy of Sanne Wellen). An in-depth study can be found in Hill , reprinted without photographs in Clark and Johnson , –.
375 Bernard Berenson and Katherine Dunham Billie Holiday and interpreted in dance by Pearl Primus, as well as in Talley Beay’s dance of on the theme of Reconstruction in the Old South, Southern Landscape. Katherine created Southland while on tour in South America in – . In the pref- ace to the French version, she says:
ough I have not smelled the smell of burning esh, and have never seen a black body swaying from a southern tree, I have felt these things in spirit . . . rough the creative artist comes the need to show this thing to the world, hoping that by exposing the ill, the conscience of the many will protest.
Southland was presented in Santiago, Chile, in January , with music incorpo- rating blues and spirituals by the Jesuit composer Dino Di Stefano. At center stage was a magnolia tree and a southern mansion. Black lovers, Lucy and Richard, embrace under the tree until the drunken, quarrelsome white lovers, Julie and Lenwood, enter. Lenwood beats Julie and leaves the scene, but when she awakes and sees Richard, she accuses him of rape and advocates his lynching. e crime is soon carried out by the crowd. Lucy has le the scene, and when she returns, she nds Richard’s body. ere follows the song Strange Fruit, and then the funeral procession, moving among singers and gamblers in a smoky cabaret, where a black man, in a symbol of vengeance, plunges a knife into the oor. A communist journalist in Chile told Katherine that there would be no reviews of Southland other than his own, since the United States would cut o newsprint to any paper that dared publish one. e American ambassador in Santiago, Claude G. Bowers, had wrien a book in criticizing Republican policy during Reconstruction and justi- fying the rise of the Ku Klux Klan. Southland was not performed again during the compa- ny’s South American tours of and , but during its next European tour, Katherine rehearsed the ballet in Genoa and presented it in Paris in January . She tried to see the American ambassador beforehand, but was told he was out. e American cultural aa- ché who received her at the embassy simply said: “We trust you and your personal good taste and we know that you wouldn’t do anything to upset the American position in the rest of the world.” Katherine later said: “He wouldn’t go any farther. So I did it.” But she paid a price. Reviews were mixed, with predictably opposite reactions from the conservative and le-leaning press. Le Monde summed up the puzzlement of some critics by asking, “What has happened to the anthropologist we once admired?” Katherine was glad, at least, that the communist newspapers had not used the ballet for anti-American sentiment, and she felt that by showing that freedom of speech still remained a basic principle of American democracy, the performance had done more good for the American government than it realized. Her strong feelings were not widely shared, however. Her own company had not wanted to perform the balletthey wanted to shed feelings of racial dierence, which
Program of Southland, Paris, Palais de Chaillot, January , BMBP. Dunham to Berenson, Paris, February , BMBP.
376 Joseph Connors they felt they had succeeded in doing on tours outside of America. Paris had accepted them, and they did not want to change the world, yet the dance made them more con- scious of color than they wanted to be. Southland was not maintained in the company’s repertoire aer its performance in Paris. e dance historian Constance Valis Hill sees a kind of quiet censorship at work on the part of the US State Department. In spite of its policy of supporting American music and art abroad, the American government never subsidized Katherine’s troupe, and it refused permission for her to accept an invitation from China in . Hill sees the lack of governmental support as the reason for the eventual dissolution of the company. e dance was last performed in the Apollo eater in Harlem in . It inspired other pro- test dances: Talley Beay’s Road of the Phoebe Snow, Donald McKayle’s Rainbow ’Round My Shoulder, Eleo Pomare’s Blues for the Jungle, and Alvin Ailey’s Masekela Language. Hill concludes: “Although Southland instigated the dissolution of Dunham’s company, it laid the moral groundwork for subsequent expressions of armation and dissent and may for- ever embolden all those who dare to protest in the face of repression.” Berenson has entered the Dunham literature as the disapproving critic of Katherine’s brave protest. Indeed, he did advise her not to perform the piece in Europe. However, their leers tell a nuanced story in which a close friendship is tried but survives and grows deeper than before. Let us allow the protagonists to speak for themselves. Katherine did not at rst tell Bernard about the performance of Southland in Santiago in , but on November she wrote to him saying that she was going to perform Southland in Paris. She visited I Tai around Christmas and le in some distress, which she recounted in a leer wrien a year later: “Just a year ago ursday we were together and I le your house in such despair, but since in essence we were both right there is nothing lost but rather much gained.” Early in the new year of , still in Genoa, she wrote again about the lynching ballet that she was about to perform. is last leer is missing, but we have Bernard’s reply, wrien on January . He assumed that the ballet was still in the planning stage and advised her against it. Using an unfortunate metaphor, he said that if it was too late for a miscarriage or abortion, she should have it born in America. If it were produced in Europe, he felt it would fuel anti-American propa- ganda and damage her career. By the time Katherine received Bernard’s advice, however, Southland had already opened at the Palais de Chaillot on January . Courageous but vulnerable, Katherine was hurt by his discouragement. It seemed that a precious friendship had been severed by him, unfairly, because she had been faithful to her innermost feelings. A month later, she wrote a long leer to Bernard from Paris about the distress she felt over his advice. She acknowledged his feelings toward the State Department and its power to hurt her career, but she dwelled on the importance of integrity. She was upset that such a deep aection as that which had existed between them could be abruptly terminated by an act that had grown out of integrity. She stressed her innocence in performing Southland, “a thing to
Hill , –. Dunham to Berenson, Rome, December , BMBP.
377 Bernard Berenson and Katherine Dunham me of great beauty and of a newness in the theater, and an expression of some of the pas- sion which is in me just as much as those things that you have seen and admired.” She went on to mention the paradoxical reactions in the French press, with praise coming from both the Gaullist right and the communist le. Most of all, she was hurt by “this irrevocable rejection,” which threw a dark cloak around her whole being for the weeks she was in Paris. Bernard was not in Paris at the time of the single performance and never saw the bal- let. Once he received a copy of the Paris program, he realized that it had already been performed, and that Katherine was terribly hurt by his leer. He immediately tried to control the damage and repair the friendship. He wrote on February to tell her that he would not have counseled stopping the ballet had he known that it was already in production. He told her that the synopsis was fascinating and that he wished he could see the ballet staged. A month later, he wrote again to reassure her of his love and to complain about the distressing reviews he had read in the Parisian press about her performance. By the summer of , the friendship had been repaired, and the electricity owed even more deeply than before. From Reno, Nevada, she wrote him a four-page typed leer cov- ering subjects ranging from the segregation and squalid living conditions of blacks to the recently detonated atomic bomb. She returned to Southland:
But believe me, B-B-, I do not speak with bierness or resentment or any of the things that you seemed to feel that I was trying to express or satisfy in myself in Southland. I do feel and have always felt as as [sic] sort of objective observer in this thing. My own life had been so dierent that I see this as one of the vast problems of the entire human race. ... I had to do Southland, and I believe that many an American, even in the diplomatic service, admired the amount of strength, not courage, that it took to do it, not for propaganda or negation of one’s national heritage.
e correspondence of these two unlikely friends continued with its old intensity and intimacy in the six years between Southland and Bernard’s death in October . Once again, Bernard assumed the role of analyst, while Katherine combined the roles of descriptive anthropologist and self-aware analysand. She even sent him a carbon copy of the nine-page leer that she wrote to her husband, John Pra, in , detailing all that was wrong with their marriage, which seemed on the brink of dissolution. In that leer she told John that “BB’s constant, constant leers just about saved my life on one or two occasions.” Bernard told Clotilde Marghieri in that he admired Katherine “with a lile sex feeling.” It might have been a lot more had he been younger and had they had more time alone together. eir few meetings, however, were at I Tai, where Nicky Mariano was on hand to welcome and to watch. In any case, Bernard spelled out his aitude to sublimated
Dunham to Berenson, Reno, Nebraska [sic for Nevada], June , BMBP. Dunham to Berenson, November , BMBP.
378 Joseph Connors sex in a passage in his diary, wrien ostensibly about Hortense Serristori, but applicable also to Katherine:
Friendships with women are never sex-free, but sublimated into an atmosphere of delicate, subtle tenderness. It is an exquisite relation, and perhaps the inspira- tion of much of the very noblest painting, music, and above all of poetry. It has played a great part in my own life, ever so much more than mere animal sexual- ity. . . . Sublimated sex can last a lifetime. It certainly has in mine.
Katherine felt free to write about sex to Bernard in the way that one might speak of it to an analyst. She conded to him that she was afraid of actual contacts, even when they seemed successful, and that this was what was wrong with her sexual life. From Zurich, she wrote to him about the easy sexual encounters of her dancers, which contrasted with her own loneliness:
But the amazement to me is the chance meeting in a bar, the greeting at a street corner, the signing of an autograph at the stage door that results for these extro- verted young animals in a night, or maybe just moments of completely abandoned pleasure. Our backgrounds are reasonably the same, so I can no longer lay my “inadequacy of the moment” at the doorstep of Puritanism. It must be the result of a gradual, continual system of either insurance against harm or renement of taste over the years. And we can be so trapped by our renements. So that while they burst with the curiosity of what each day may bring to them as an individual, while they compare teeth marks and other “épreuves” of passion, I read and think and work and wonder if my life would seem any more livable were my day revolv- ing around a certainty of anonymous passions at night.
It was not sex that Katherine wanted from grandfatherly Bernard, but understand- ing bathed in love. A few hours aer leaving I Tai, she wrote a love leer from the Hotel Baglioni in Florence:
I have just le you and am so used to arriving at the rail crossing (that seems to be a landmark) sad and alone. is time I suddenly melted into oods of tears. I know that when we were alone for those few moments something wonderful hap- penedthat I experienced a true love and meaning of love that was too big for this mortal self. And I have le with you something that perhaps you gave me a thousand years agoa part of myself that is deep and inner and that I am scarcely aware of, only through feeling. I sat in your beloved presence a dierent self . . . [You] made me feel fuller and calmer and more sure of the great plan of life and its inevitable circular
Bernard Berenson, diary, June , in Berenson c, . Dunham to Berenson, Zurich, November , BMBP.
379 Bernard Berenson and Katherine Dunham motion. . . . You must feel me breathe into you my love, my warmth, and the saving grace of this dark blood. ... Stay with me, dearest B.B. and stay with all of us who love you as I do.
In her leers, Katherine oered Bernard her anthropologist’s eye, leing him see places he would never visit and hear of societies he would never know in person. In , she wrote to him from São Paulo, Brazil, about witnessing sacrices of goats, sheep, and chickens at ceremonies called macumbas, where the ociating priest became possessed of a warrior god and started eating raw livers. She added that it aected the troupe’s appetite for many days. In the long leer from Reno (“the last frontier in America”) of that is quoted above, Katherine asked Bernard:
Can you imagine what it must be like to work for a full hour before, or rather surrounded by, within touching distance, the faces and bodies of thugs and gamblers and hustlers and prostitutes and exploiters and touts and all of the ones that are the only ones who can aord these places, and while one works with perspiration dripping over ones false eyelashes and knee with a oating cartilage threatening betrayal at any minute and muscle and joint and heart weariness struggling to take control, this great sodden beast eats steaks, drips spaghei, guzzles bourbon, talks, laughs, and once in a while gets up to go to the water closet . . .
She then touched on the theme of sex and the erotic element in her art:
e success we have at these places is very strange. It seems to be chiey on an erotic basis as that is the most direct way to reach them. is type of person comes to a place like that to see Negroes only as a burlesque character, or to have their sluggish currents pepped up by a jazz beat, by the out-do all that the human body seems capable of doing that has meant the success of the Negro tap dancer ... always something ingratiating, physical agility. Or the Negro singer that transports them in abandon. e foreign element that we bring puts them ill at ease at rst ... then the drums reach something, though they don’t know just what. My form of sex is more rened than they are used to, but sets them to thinking that they might be missing something. Above all, I believe that they are impressed by a certain intellect that they can’t dene, and a certain untouchabil- ity that makes them wish that they had it themselves.
Dunham to Berenson, Florence, March , BMBP. Dunham to Berenson, São Paulo, July , BMBP. Dunham to Berenson, Reno, Nebraska [sic for Nevada], June , BMBP. Ibid.
380 Joseph Connors In October , Katherine wrote from Buenos Aires about conditions under the Peronist regime aer the passing of Evita Peron. She gave a masterly summing-up of her visit to Mexico, and Bernard thanked her, recalling his own early interest in pre- Columbian art:
Pity that I have not been able to get there, altho’ my interest in its art goes back to my college days. en I discovered at Harvard a show full of Aztec and Mayan sculpture, and was deeply impressed. I have since then tried to see all that could be seen out of Mexico itself, and I have most of the illustrated publications in the library of I Tai.
From Las Vegas, Katherine sent him some samples of her “prose-poetry.” From Melbourne, she wrote in about giving a speech for an Aboriginal girls’ hostel. From New Zealand, she wrote about aending a gathering of three thousand Maori from sev- eral tribes to bid farewell to a Maori girl leaving for England to play in a tennis tourna- ment: “e songs and dances in native costume were so full of aection and spiritual care for the girlthey were so proud, and so integrated that I looked on with a certain envy, I must admit. Surely there are not many such people in the world. Handsome and open and undestroyed by white colonization.” From Kuala Lumpur, she wrote in about the excitement in the air as freedom was about to be granted from the British colonial occupation, but also of the fears inspired by the communist bands sweeping in from the jungles to the north and infecting Singapore with strikes and riots. In , Katherine disbanded her company. Financial travails were part of the cause, but she was also growing tired of the tensions within. She wanted to nd a new career. In and , in Paris and Buenos Aires, she had tried painting. Seriously misjudging his aesthetic preferences, she sent photos of her canvases to Bernard, with a disclaimer: “ey are not really paintings at all but expressions of a search of other selves which in me seem to be multiple.” What did Bernard think of her paintings? A Florentine newspaper clipping shows Katherine and her dancers in the Boboli Gardens in (Fig. ), and puts into a headline his improbable advice: “Keep on painting, says Berenson to Dunham.” But it is dicult to imagine that Berenson, who had shed his early admiration for Henri Matisse and Paul Cézanne and who was at that time engaged in a study of the decline
Dunham to Berenson, Buenos Aires, October , BMBP. Dunham to Berenson, San Ángel, Mexico, June , BMBP. Berenson to Dunham, Naples, June , Katherine Dunham Papers, Special Collections Research Center, Morris Library, Southern Illinois University, Carbondale (hereaer KDP). Dunham to Berenson, Las Vegas, March , BMBP. Dunham to Berenson, New Zealand, March , BMBP. Dunham to Berenson, Kuala Lumpur, July , BMBP. Dunham to Berenson, Buenos Aires, November , BMBP. Camille Cederna, “Continui a dipingere disse Berenson alla Dunham,” undated newspaper clipping, ca. , with a photograph of Katherine Dunham with her dancers in the Boboli Garden, and a photograph of one of her paintings, BMBP.
381 Bernard Berenson and Katherine Dunham of form in Western art, really approved. More honest was his encouragement for her to turn to writing: “I am sure there is a real woman of leers tucked away in you,” he wrote in . A month later, he continued: “Your bier-sweet verses delight me. ey are so charming, and yet so deep-sounding, light, almost gay, but with a distant rumbling of a tragic sea . . . [To get them published] TRY younger people if there be any you suspect of aesthetic heart and mind.” Aer the return of her dancers to America from their last Asian tour, Katherine stayed in Japan in and to write her autobiography. She sent a dra to Bernard in February , but he seems to have found it obscure and in need of correcting. Indeed, although not a short book, it covers only her childhood and adolescence, not the forma- tive years at the University of Chicago or the foundation of American black dance. Strong emotions welled up and kept her writing slowly: “It is so painful. I weep over many pages, but aer ve times, it will be writing, not emotion, I hope.” When A Touch of Innocence came out in , she dedicated it to Bernard. e admiring aection between Bernard and Katherine echoes, in a more pla- tonic vein, Bernard’s ardent aair with Belle da Costa Greene ( – ) a generation earlier. Born Marion Greener, Belle was the daughter of Richard Greener, the grand- son of a Virginia slave and the rst black person to graduate from Harvard College. His career, at least in its early stages, was spent in campaigning for the right of surage and for public education for blacks in the post–Civil War era. Greener openly identied with his black ancestry and was an active advocate of racial equality, but he also claimed the right to live in white society, as being a cultured and educated member of the mid- dle class. His wife and family, however, all light-skinned, disassociated themselves from their father’s identication with blacks. Belle, in particular, broke with three generations of black activism to live as a white person. She adopted a Portuguese name, da Costa, to explain her Mediterranean complexion to the many people who noticed her exotic looks. It was a strategy adopted gradually between and , and it served her well in the spectacular career she developed under the patronage of J. Pierpont Morgan and his fam- ily. e severe and unpleasant Isabella Stewart Gardner, stung by Belle’s criticisms of her collection, thought of her as a “half-breed.” But Belle never thought of herself as black, and admied only veiled and humorous allusions to her dark complexion. Most of her acquaintances and romantic aachments in New York society accepted her ction of a southern Mediterranean ancestry, and admired her beauty, vivacity, exotic looks, and growing knowledge of rare books and manuscripts. Bernard never alludes to questions of race, although Mary and Nicky sensed there was something exotic about this “most wild and woolly and EXT¡ORDINARY young person” who swept Bernard o his feet.
Berenson to Dunham, Seignano, March , KDP. Dunham to Berenson, Tokyo, February , BMBP. ere is a brief but fascinating chapter in Strouse , – , but the denitive study, with probing thoughts on larger questions of race in the period, is Heidi Ardizzone’s An Illuminated Life ( ). Hadley , . Ardizzone , .
382 Joseph Connors 3 Katherine dunham and her troupe in the Boboli Gardens, ca. 1950. Bernard and mary Berenson papers, Biblioteca Berenson, Villa i Tatti—The harvard university Center for italian renaissance studies.
Katherine Dunham represents a diametrically opposite stance on race. Also a light- skinned African American, she actively identied with the American Negro. is was a conscious choice. Race was not a barrier for her at the University of Chicago the way it would have been at most elite universities. In her eldwork in Jamaica and Haiti, her color was a distinct advantage in achieving empathy with the communities she studied. Katherine fought discrimination all her life, protesting in hotels and theaters where her troupe was not treated equally. Any aempt at “passing” or living as white was simply out of the question for this strong personality. Bernard and Katherine each overlooked barriers that are usually eective in keeping elective anities from becoming passionate. For Bernard, it was the barrier of race, which he lowered to accept Katherine’s oer of “the saving grace of this dark blood.” e barrier
Dunham mentioned hotels that refused persons of color in São Paulo (Dunham to Berenson, July , BMBP); Reno, Nevada (Dunham to Berenson, June , BMBP); Las Vegas (Dunham to Berenson, January , BMBP); and San Francisco (Dunham to Berenson, October , BMBP).
383 Bernard Berenson and Katherine Dunham Katherine overlooked was that of age. Forty-four years would in most cases constitute a rebreak that ardor could not overleap, but Katherine was completely nonchalant about the issue. Early in their relationship, when she was preparing for a visit to Venice, she oered to y to see Bernard:
en on one of these inbetween days I will make it a point to take advantage of this technological age and y to whatever point you may be stationed. en we can talk about material for a play, the glories of the Renaissance, your beloved Italy, my beloved Haiti, bronze statuary, and those uerly unfounded notions of yours about time and age, as I am sure that you realise that extending backward and forward there is no such thing as a conclusion of anything, even the human mechanism at , so I count on you for that eternal youth which I enjoy myself, because at I feel neither young or old, but just as timeless as I am sure you feel at , and as I am sure I will feel at .
e meaninglessness of age in relationships is a theme that returned oen in Katherine’s leers. She reassured Bernard that it was the inner man she loved, notwithstanding the waiike weakness of his octogenarian and then nonagenarian body. On his side, Bernard was always conscious of this barrier, and he was all the more grateful to Katherine for ignoring it. Living to his age was an adventure he did not recommend to anyone. In , he wrote to her:
I have weathered the cape of . I have avoided ceremonials by refusing to go to Oxford to receive an honorary degree, and by keeping away from Rome and Florence. . . . ere have been “gratifying” words about me in many American, English, Italian, even French and German papers. ey don’t mean much to me and do not reconcile me to myselfa self toward which my esteem is uncertain and my aection dubious. I cling to you and to the few who really love me. You ask me why[.] I cannot tell.
And Katherine, on her part, assured him, when he was ninety-one, that she kept a picture of him above her mirror: “I am so happy that it is never too late to love.” In , when he was ninety-two, she replied to his laments: “Don’t worry about your looks. You are there inside the same dear and alert self as alwaysI can tell from your leers. Do you still wear the shoes that I admire so much?” Aer Bernard’s death in , Katherine did not become a writer or a painter, but rather a teacher and a social activist. Her last Broadway performance was in , but she choreographed Aïda for the Metropolitan Opera in . She founded the Performing
Dunham to Berenson, Amsterdam, July , BMBP. Berenson to Dunham, July , KDP. Dunham to Berenson, December , BMBP. Dunham to Berenson, November , BMBP.
384 Joseph Connors Arts Training Center in East Saint Louis, Missouri, in , and the Katherine Dunham Museum and Children’s Workshop in the same dicult, gheoized city in . It was here that she initiated a fast to call aention to the plight of Haitian refugees turned away from the United States in . Bernard Berenson thought of Katherine Dunham as a living work of art, beautiful like a bronze statue, and animated by a deep inner vitality. She appreciated and in fact needed this response from the ultimate aesthete, and reciprocated with a love that survived his critique of Southland. Her leers lit up his nal decade, and his oered her an anchor in times of emotional upheaval and constant global travel. Fresh and not at all cloying, they still make wonderful reading.
385 Bernard Berenson and Katherine Dunham ¢£¢£¢£¢ Appendix Correspondence of Katherine Dunham and Bernard Berenson Regarding the Performance of the Ballet Southland in Paris in January
Doc. . Dunham to Berenson, Santa Margherita Ligure (Genoa), November . (Bernard and Mary Berenson Papers, Biblioteca Berenson, Villa I Taie Harvard University Center for Italian Renaissance Studies [hereaer BMBP].)
In Paris in January I plan to do our ballet Southland which we did only once in Santiago, Chile. Part of my feeling of incapacity and creative immobility comes from not saying what I want to saythat is, having more to say than the medium which I have chosen permits.
Doc. . Berenson to Dunham, Seignano, January [sic for ]. (Katherine Dunham Papers, Special Collections Research Center, Morris Library, Southern Illinois University Carbondale [hereaer KDP].) Berenson misdates the leer, forgetfully carry- ing over the old year , although he wrote the leer in .
Beloved Katherine, anks for a dear word from Paris. If you feel too far gone in pregnancy to expect a miscarriage or to have resource to an abortion you, an American of such destination must have it born in America. e child I have in mind, as of course you know, is the idea of turning a lynching into a ballet,“suering into song”. If you produce such a ballet in the States, and it takes on there, you could bring it over to Europe. If you produce it here, it will serve only to give fuel to the re of anti-American propaganda. All the communists in Western Europe will take it up, and the Soviets and their satellites from the Elbe to the Yangtse, will feast on it and more. A mad resentment will be roused against you in the United States. It may end by driving you to seek refuge in Russia. Can you face such a possible result? erefore:Either give up the idea, or carry it out and produce it in America. Your loving friend B.B. P.S. Happily Nicky’s health is improving.
386 Joseph Connors Doc. . Dunham to Berenson, Paris, February . (BMBP.) Paragraph six is quoted in Hill , , republished in Clark and Johnson , .
Dearest B.B., I have put o writing to you for some time hoping that the distress which I felt leaving I Tai that rainy night and have felt ever since would diminish. I know and respect all of your feelings towards State, many of which I have, but I know also that in your wisdom you must feel and know the importance of integrity to oneself and one’s creative drive. And while I might have expected to have been abjured by you, I did not expect that a deep aection, to say nothing of the love that one individual can have for anothersuch as I thought we hadcould be so rudely destroyed because of an action obviously growing out of a fundamental integrity. I have turned every possible searchlight and inner eye on my feeling towards performing Southland at this time, and I must say that I feel absolutely innocent. It was a thing to me of great beauty and of a newness in the theater, and an expres- sion of some of the passion which is in me just as much as those things that you have seen and admired. Amusingly enough it has been severely aacked not only by “right” press, but by even such a communist press as Le Combat from a theater point of view. It has been equally praised by the communist Humanite, by the extreme rightist Gaullist Ce matinLe Pays, and in between has reached a storm of enraged criticism as well as personal aack not only on Southland but on me in general, because I have betrayed the French and not continued to give them the opiate which they rst received in . ere have been as many exceed- ingly laudatory criticisms and a number of congratulations on my eorts to break away from the limiting category in which I had been placed against my will by the French. I have not, however, been approached by either communists or the com- munist press who I believe, since aer all they are oen very perceptive people, do not see anything either in the ballet or in the material for anti-American usage. On one side I see repeated with the rhythm of an out of gear piece of machin- ery “music hall”, “betraying of racial origins in emphasising orchestra instead of tam-tam”, “cerebralism”, “Sorbonnism”, “intellectualism”. On the other side I nd words such as “beauty”, “unforgeable theater”, “courage,” “improvement of pro- duction and technique”, “charm, wit and fortitude.” Naturally I admit that I have been deeply grieved by some of the unkind remarks, but I would have been more deeply grieved had I betrayed myself. e next grief to this comes in the loss of your understanding and friendship, and in this I feel helpless because somewhere in me are roots stronger than I am, based probably more on intuition than reason, which seem to walk hand in hand with my own will and judgement so that I seldom falter in an act, and if I do I am almost always regreing and ashamed.
387 Bernard Berenson and Katherine Dunham As to the repercussions of this ballet, its symbolism is far over the heads of most of the French and it is treated on the stage in a combination of symbol- ism and realism which they do not understand at all. Many Americans have seen it. Some do not like it a bit and others (not by any possible means or stretch of the imagination communist) have come backstage to thank me for making them think. A number of people, some of them southern, have met the company in var- ious bars and told them how much they admired the ballet and the manner in which that particular subject was presented. I go out very lile myself and there- fore have small opportunity to meet this sort of person. A few days before the opening in my distress I asked to see the Ambassador whom I know to ask his opinion. He was not in town but the Cultural Aache very warmly recommended that I have no reserves in relationship to what the American Government might think and agreed with me that to stop the presenta- tion when it is known that this work is repertoire would have a far more serious repercussion on the American Government than its presentation ever could. In my heart of hearts and with my own primitive animal intuition, I know also that this has done more good for the American Government than perhaps even they know, although I feel sincerely that some of them do. It has proven to the world that the thing of which they are being accused every day due to the acts of such people as Senator Macarthy and so forth, has not yet become a fact, and that free- dom of speech still remains one of our basic principles. In my opinion, since I know the truth with which the ballet is presented and its lack of propagandistic structure, I feel that the American Government has moved a step ahead in the eyes of European Government in not interfering and in calmly taking for granted this thing as they do articles in the various foreign edi- tions of their publications on such subjects. Literally it is documentary, and since I allowed the year to pass with- out performing it and there we[re] no lynchings in that year it is away ahead his- torically. Dramatically it is a high point in my own eorts at welding mime and motion. Choreographically it is extremely simple but with high moments of gym- nastic beauty and plastic ow. Auditorally there is some beautiful singing in it and I myself like the orchestra arrangement. From a production point of view I feel that it is a real achievement in lighting and staging, especially with our own slen- der means. But I would not apologise for this even on Broadway. So my dearly beloved friend during these years of our close association I have always turned to you with eagerness for those words of wisdom which you know so well how to mete out. I have felt that the only way which I could repay you would be to try and reach somehow your level of thinking, which is hard for me in reality because I live in this continuous removed intuitive, even I suppose semi-mystic state. I have felt unworthy of you and unworthy of knowing you and I would willingly have withdrawn from knowing you would it in any way be prof- itable to yourself or even comfortable to you. But I have not expected from the
388 Joseph Connors greatness which you have always meant to me the irrevocable rejection which was the result of my own poor eorts to try and clarify and to strive and help. is feeling threw a very dark cloak around my whole being for the rst two weeks that we were in Paris so that much of it seems dream-like. en I felt exceedingly sensitive to the mass illness that is going on here in France and to the trials at Oradour and to the way of the world in general to the point where a few days ago in a false movement I knocked two vertebrae out of place. Since I can never aord to be bed-ridden for more than twelve hours at a time, with the aid of instruments and drugs there I was again doing the show without interruption and now again one day has begun to follow the other much as before. You have no idea how important it is for me to get this leer wrien to you as it has been on my mind every day and I have picked up a pen and put it down and wandered past a typewriter on so many occasions knowing that once it was writ- ten at least it would be something denite. Now I must ask you to try and think of the beer things that you knew about me. My warmest love to Nicky and my continued love to you no maer what you might choose to do, because I know that whatever it would be it could only be worthy because it would come from you. Katherine
Doc. . Berenson to Dunham, Seignano, February . (KDP.)
Darling, Dearest Catherine: I am deeply moved that you should have thought me worthy of the marvel- lous leer you wrote Febr. st. So extraordinary that you should place such value on what I think of you and my aitude toward you. I am awed and want to shout Domini non sum dignus. Almost I could welcome the misunderstanding which brought out such an appeal. Yes, a misunderstanding due in part to you and in great part to my obtuse- ness. If you received the answer I addressed to you to Hotel Loi to the note I had from you wrien there, you would have realized that I assumed the ballet centering around a lynching was something you were going to compose and orchestrate NOT, as now turns out, one you already had arranged to perform immediately. Had I known that you were going to Paris to produce it, I should have spoken and wrien dierently. So long as there was a possibility of puing you o from what seemed to me a hazardous oering I felt I must do all I could to persuade you to drop it. Had I known that it was ready to be performed immediately and in Paris, I either would have said nothing or tried to cheer and comfort you. I never meant to stop loving you, for I could not if I tried. Yet, if the U.S.A. took the performance as oensive and harmful and frequenting you had been scowled at, I am not in a position to defend you or even to go on seeing you. For
389 Bernard Berenson and Katherine Dunham I myself am only an alien-born American, an absentee, who has not been back in years, and therefore am oensive to the mind of the State Department bureau- cracy. Happily the U.S.A. Cultural Aaché, with all the authority and power of his oce, has not disapproved, and I certainly have no reason (as the French say) to be “more Catholic than the Pope”, in my case to be more patriotic than our Cultural Aaché. And it comforts me to learn from you that the communist press thus far has made no capital out of yr. ballet. So let me hope that it will be in every way satisfactory, both culturally and nancially. Let me not forget that yr. synopsis is altogether fascinating and makes me wish I could see the whole staged. Are you no longer at the Loi? I like to be able to place you. “c/o” is so vague. Trust me to be ever and always Your loving friend, B.B.
Doc. . Berenson to Dunham, Seignano, March . (KDP.)
Dearest Katherine, So glad to hear from you aer a too long silence, and I love this last photo of yourself, and portrait of the woman Katherine whom I love so much. I do not want to guess, so try to tell me what precisely are the changes wks. have brought about. e photo does not look as if they were for the worseI was distressed as well as shocked by some of the comments about yr. performance that I read in Paris dailies and weeklies. ere is no place on earth where cliques enjoy greater power, and inuence opinion more eectively. You seem to have got in the way of the Spanish solo dancing interest, which now hypnotizes the Parisian public. I am glad you liked Nina de Cencis. She is a dear child despite her years more or less. Another woman who is eager to know you is Lady Mallet in Rome, the wife of the Brit. Ambassador there. I wish you were here in this golden weather, and before we get overwhelmed by the season’s visitors. Ever so much love B.B.
390 Joseph Connors Doc. . Dunham to Berenson, Florence, March . (BMBP.)
March , Grand Hotel Baglioni Palace, Florence, Italy
Dearest B.B. I have just le you and am so used to arriving at the rail crossing (that seems to be a landmark) sad and alone. is time I suddenly melted into oods of tears. I know that when we were alone for those few moments something wonderful happenedthat I experienced a true love and meaning of love that was too big for this mortal self. And I have le with you something that perhaps you gave me a thousand years agoa part of myself that is deep and inner and that I am scarcely aware of, only through feeling. I sat in your beloved presence a dierent self knowing you somewhere else, and it was future because Niki’s sister was Niki for me until Niki came in, and I vaguely remembered wondering if she had been ill or was it many years from now. ere didn’t seem to be time, only a fusion of something from me to you (you have always been the one to give) that made me feel fuller and calmer and more sure of the great plan of life and its inevitable circular motion. at feeling (knowl- edge) will always be with me and that part of me will always be with you wherever and whenever. Everything deeper than I am tells me this and the tears that burned out of me were the tears of a nal knowledge and the realization of an arrested moment in time. You must feel me breathe into you my love, my warmth, and the saving grace of this dark blood.What else do I have? Stay with me, dearest B.B. and stay with all of us who love you as I do.Katherine
391 Bernard Berenson and Katherine Dunham Bibliography
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404 Bibliography , ·À . Giuseppe Maria Crespi. Milan, . , ¶. Studies in Art and Literature for Belle da Costa Greene. Princeton, . , , and ° . e Remarkable Huntingtons: Chronicle of a Marriage. Newtown, . , . Iris Origo: Marchesa of Val dOrcia. Boston, . , °. Della pi ura italiana studii storico-critici: Le Gallerie Borghese e Doria- Pamphili in Roma. Edited by . Milan, . , Æ . “Le Passegiate di Berenson.” La Nazione, October . ——— . Conversations with Berenson. Translated by Florence Hammond. Boston, . First publi- shed . ——— . Vita di Piero Gobe i: Con una testimonianza di Allesandro Passerin dEntreves. Turin, . -, , ed. Bibliograa di Bernard Berenson. Milan, . ——— . Review of e Bernard Berenson Treasury, by ; Colloqui con Berenson, by Æ ; and Sunset and Twilight: From the Diaries of – , by . Burlington Magazine ( ): – . ——— . Review of Bernard Berenson: e Making of a Connoisseur, by ¶ ; and Being Bernard Berenson, by . Burlington Magazine ( ): – . , . e Life of Mahomet. vols. London, . ¯, ¶ . “Un®importante precisazione per le tre Tavole Foresti.” In Andrea Mantegna e la creazione iconograca, edited by , – . Ascona, . ¯, ¶ , and ¯ , eds. Andrea Mantegna: Le tre tavole della collezione Foresti. Modena, . ¯ , °. “Introduction: Philology in a Manuscript Culture.” Speculum ( ): – . ¯» , . Das Leben Mohammeds. Hannover, . ¯, ¸ . “Pietro Foresti e la fotograa.” In Alle origini del museo –: La donazione Foresti nelle collezioni di Carpi, edited by and · , – . Carpi, . , . Italian Primitives at Yale University: Comments and Revisions. New Haven, . . e Inuence of Turkic Culture on Mamluk Carpets. Istanbul, . , , and ° µµ. “Entre restauration et vente: La peinture médiévale au début du XXe siècle.” Médiévales ( ): – . , . Orality and Literacy: e Technologizing of the Word. London, . First published . , . “e Long Pilgrimage: One Aspect of Bernard Berenson.” Cornhill Magazine (Spring ): – . , · ., ed. Revisiting the Gamberaia: An Anthology of Essays. Florence, . ·, , and ¨ . e Art and Architecture of Japan. Baltimore and Harmondsworth, . · , ¶. “ree Decades of Art History in the United States: Impressions of a Trans- planted European.” In Meaning in the Visual Arts: Papers in and on Art History in the United States, – . Garden City, . ——— . Korrespondenz – : Eine kommentierte Auswahl in fünf Bänden. Edited by . Vol. . Wiesbaden, . · µµ, . “e Donna Laura Minghei Leonardo. An International Mystication.” English Miscellany ( ): – . ·µ, , and ° µ . La gura e lopera di Giovanni Morelli: Materiali di ricerca. Bergano, . · , . A Family of Friends: e Story of the Transatlantic Smiths. New York, . · , . Appreciations: With an Essay on Style. London, .
405 Bibliography ——— . e Renaissance: Studies in Art and Poetry. London, . ——— . e Renaissance: Studies in Art and Poetry. Edited by . ¸. . Berkeley, . ——— . Marius the Epicurean: His Sensations and Ideas. Kansas City, . ·, . Present Philosophical Tendencies. London, . · , . “I manoscrii persiani della collezione Berenson.” In Studi in onore di Francesco Gabrieli nel suo o antesimo compleanno, edited by , – . Rome, . · , . Veronese Lopera completa. vols. Venice, . · , µ µ . “Collezionisti, amatori e curiosi, Parigi-Venezia XVI–XVIII secolo.” Milan, . · - , . Learning to Look. New York, . · , . Modelli darte e di devozione: Adeodato Malatesta – . Exhibition catalog. Milan, . · , . Medieval Architecture: Its Origins and Development. vols. London and New York, . ——— . e Construction of Lombard and Gothic Vaults. New Haven, . ——— . Lombard Architecture. vols. New Haven, – . ——— . Beyond Architecture. Boston, . ——— . Romanesque Sculpture of the Pilgrimage Roads. vols. Boston, . · , . Ma ia Preti tra Roma, Napoli e Malta. Exhibition catalog. Naples, . ·, . “Renaissance ‘Art and Life® in the Scholarship and Palace of Herbert P. Horne.” In Gli anglo-americani a Firenze: Idea e costruzione del Rinascimento, edited by ¥ , – . Rome, . · , ° . Archer Milton Huntington. New York, . , . Das Zeitalter der Nervosität: Deutschland zwischen Bismarck und Hitler. Munich and Vienna, . , . “Der Renaissancekult um und seine Überwindug.” Zeitschri für deutsche Philologie ( ): – . , , and . Der Dichter und die neue Einsamkeit: Aufsätze zur Literatur um . Göingen, . , ° . Notizie Istoriche delle chiese Fiorentine. Vol. . Florence, . , , and ° , eds. Italienische Malerei der Renaissance im Briefwechsel von Giovanni Morelli und Jean Paul Richter – . Baden-Baden, . , · . Leonardo da Vinci. London, . ———. “Die dresdener Gemäldegalerie und die moderne Kunstwissenscha.” Unsere Zeit: Deutsche Revue der Gegenwart (Neue Folge) ( ): – . ——— . e Mond Collection: An Appreciation. Vol. . London, . ——— . Altichiero: Sagen, Tradition und Geschichte; Originaltext und Übersetzung einer Veroneser Handschri mit Kommentar. Leipzig, . ——— , e d . e Literary Works of Leonardo da Vinci. vols. New York, . ° µ, ¸ . “Antonio Begarelli (Modena – ).” In Sculture a corte: Terreco e, marmi, gessi della Galleria Estense dal XVI al XIX secolo, edited by , – . Modena, . , . Das Florenzer Tagebuch. Edited by - and . Frankfurt and Leipzig, . , . “Bernard Berenson.” In e Early Years of Art History in the United States, edited by and · . ¸ , –. Princeton, . , ¸ . Henrie e Hertz: Mäzenin und Gründerin der Bibliotheca Hertziana in Rom. Wiesbaden, . , · . “Obituaries: Dr. A. P. Laurie.” Nature ( ): –.
406 Bibliography , ¸ . “Decorazione d®interni a Palazzo Foresti.” In Fondazione Umberto Severi. Vol. , Arte antica, edited by , – . Modena, . , ¸ . e Bernard Berenson Collection of Oriental Art at Villa I Ta i. New York, . , ° . Vincenzo Catena. Edinburgh, . , . Persian Drawings (Drawings of the Masters). New York, . , ., ed. “Necrology.” American Journal of Archaeology , no. ( ): – . , . “‘Una sorta di sogno d®estasi®: Bernard Berenson, l®Oriente e il patrimo- nio orientale di Villa I Tai.” In Firenze, il Giappone e lAsia Orientale, edited by and µ , – . Florence, . , . “Una cià all®alba dei tempi moderni: Aby Warburg a Firenze.” In Storia dellarte e politica culturale intorno al : La fondazione dellIstituto Germanico di Storia dellArte di Firenze, edited by ¨ , – . Venice, . ———. “Wahrmund, ein kleiner Gelehrter: Der Kulturhistoriker Aby Warburg wird in einem Renaissancedrama von Wilhelm Uhde lächerlich gemacht.” Frankfurter Allgemeine Zeitung, September , “Geisteswissenschaen” section. ———. “Von Bismarck bis Picasso: Wilhelm Uhde und die Geburt der Avantgarde.” In Ordnungen in der Krise: Zur politischen Kulturgeschichte Deutschlands – , edited by , – . Munich, . ——— . Florence : e Quest for Arcadia. Translated by . New Haven and Lon don, . , . “Connoisseurship and Photography: e Methodology of Mojmir Frinta.” In Art History through the Cameras Lens, edited by ¶. , – . Langhorne, . , , ed. La ci à del principe. Semper e Carpi: A ualità e continuità della ricerca. Pisa, . ——— , e d . Alberto III e Rodolfo Pio da Carpi collezionisti e mecenati. Tavagnacco, a. ———. “Un pubblico enorme assisteva alla magnica festa d®arte.” In Alle origini del museo – : La donazione Foresti nelle collezioni di Carpi, edited by and · , –. Carpi, b. ——— , e d . Rare pi ure: Ludovico Carracci, Guercino e larte nel seicento a Carpi. Exhibition catalog. Carpi, . , , and ¶ µ. Il palazzo dei Pio a Carpi: Se e secoli di archite ura e arte. Venice, . , , and · , eds. Alle origini del museo –: La donazione Foresti nelle collezioni di Carpi. Carpi, . ¨ , . “Kamal al-Din Bihzad and Authorship in Persianate Painting.” Muqarnas ( ): – . , · . “Bernard Berenson, Villa I Tai, and the Visualization of the Italian Renais- sance.” In Gli Anglo-Americani a Firenze: Idee e costruzione del Rinascimento, edited by ¥ , – . Rome, a. ———. “Portrait of a Lady: Isabella Stewart Gardner, Bernard Berenson, and the Market for Renaissance Art in America.” Apollo (September b): – . , . Picasso and Braque: Pioneering Cubism. Boston, . , ¥. La raccolta Berenson. Milan, . Published in English as e Berenson Collection, Milan, . , ¶ . Orientalism. New York, . , . “Spigolature d®arte toscana.” Larte ( ): – . µ , . Old Masters, New World: Americas Raid on Europes Great Pictures, – World War I. New York, . ———. “‘e Finest ings®: Colnaghi, Knoedler, and Henry Clay Frick.” In Colnaghi: e History, edited by , –. London, .
407 Bibliography , ¶ . Bernard Berenson: e Making of a Connoisseur. Cambridge MA, . ——— . Bernard Berenson: e Making of a Legend. Cambridge MA and London, . , ¥ · . Meisterwerke muhammedanischer Kunst auf der Ausstellung München . . . . Photographische original-aufnahmen . . . die in dem grossen Ausstellungswerk von Sarre-Martin nicht veröentlicht sind. Munich, . , . Adolf von Hildebrand und seine Welt: Briefe und Erinnerungen. Munich, . µ , , with contributions from ° . Ludwig Monds Bequest: A Gi to the Nation. London, . Ç, -. Die Kulturwissenschaliche Bibliothek Warburg: Geschichte und Persön lichkeiten der Bibliothek Warburg mit Berücksichtigung der Bibliothekslandscha und der Stadtsituation der Freien und Hansestadt Hamburg zu Beginn des . Jahrhunderts. Berlin, . , ¸ , and ¶ , eds. Meyer Schapiro: His Painting, Draw ing, and Sculpture. New York, . , . “Mr. Berenson®s Values.” Encounter (January ): – . , . Zwischen Empnden und Denken: Aspekte zur Kunstpsychologie von Aby Warburg. Münster, . , . “Ungestra unter Palmen: Freud in Italien.” In Vorträge aus dem Warburg- Haus, by Æ ¥ et al., : – . Berlin, . , · , and . Aby M. Warburg und die Ikonologie. Wiesbaden, . , . Culture and Enchantment. Chicago, . , . e World as Will and Representation. Translated by ¶. ¥. . ·. Vol. . New York, . , · . Cassoni: Truhen und Truhenbilder in der Italienischen Frührenaissance; Ein Beitrag zur Profanmalerei im Qua rocento. Leipzig, . , °. Mia avventura. Milan, . , . Being Bernard Berenson: A Biography. New York, . Reprinted London, . ——— . Kenneth Clark: A Biography. London, . ——— . Duveen: A Life in Art. New York, . , ¸ . “Arthur Kingsley Porter: Life, Legend, and Legacy.” In e Early Years of Art History in the United States, edited by and · . ¸ , – . Princeton, . - , . e Art of Scandal: e Life and Times of Isabella Stewart Gardner. New York, . , ¥ . Paintings om the Samuel H. Kress Collection: Italian Schools, XIII–XV Century. London, . ——— . Paintings om the Samuel H. Kress Collection: Italian Schools, XV–XVI Century. London, . ——— . Paintings om the Samuel H. Kress Collection: Italian Schools, XVI–XVIII Century. London, . , . J. B. S. Selected Writings. London, . , . “Lo studio Brogi a Firenze: Da Giacomo Brogi a Giorgio Laurati.” ATF: Semestrale dellArchivio Fotograco Toscano; Rivista di storia e fotograa , no. (December ): – . , . Artful Partners: Bernard Berenson and Joseph Duveen. New York, . ——— . e Partnership: e Secret Association of Bernard Berenson and Joseph Duveen. London, . , . e Illustration of an Epic: e Earliest Shahnama Manuscripts. New York, . ², . A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University. New Haven, . ——— . e Chinese on the Art of Painting. Beijing, .
408 Bibliography ——— . Gardens of China. New York, . ——— . China and Gardens of Europe of the Eighteenth Century. New York, . ——— . Chinese Painting: Leading Masters and Principles. vols. London and New York, –. , ¸ · . Reperusals and Re-Collections. New York, . ——— . Unforgo en Years. Boston, . , ¸ · , with and (- ). “Altamura.” e Golden Urn ( ): – . , . “Katherine Dunham: African-American Dancer, Choreographer, Anthropolo- gist, Activist, and Vodoo Priestess.” Guardian, May . , . Against Interpretation. London, . , · . “Walter Pater, Bernard Berenson, and the Reception of Persian Manuscript Illustration.” Res: Anthropology and Aesthetics (autumn ): – . µ, . Oriental Rugs in Renaissance Florence. Florence, . , . Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Florence, . ——— . Ma ia Preti: Catalogo ragionato dei dipinti. Florence, . , ° . Sosta a Carpi. Modena, . , ¯. Ribera: Lopera completa. Naples, . , ¥¨. “Carlyle and Warburg: e Dynamics of Culture as a ‘Process of Devastation and Waste.®” In Cultures in Process: Encounter and Experience, edited by and ° , – . Bielefeld, . , . Das Leben und die Lehre des Mohammad. vols. Berlin, . , . Berenson: A Biography. London, . , . “Marco del Buono and Apollonio di Giovanni: Cassone Painters.” Bulletin of the Allen Memorial Art Museum, Oberlin College ( ): – . , , and ¸ . “Un dipinto cinese.” Dedalo , anno ( – ): – . , . “Artifact as Ideology: e Aesthetic Movement in Its American Cultural Context.” In In Pursuit of Beauty: Americans and the Aesthetic Movement, edited by , – . New York, . , . “L®impresa di Warburg.” In Aby Warburg: La diale ica dellimmagine, edited by , / :– . Milan, . ——— . “ Aby Warburg in America Again, with an Edition of His Unpublished Correspondence with Edwin R. Seligman ( – ).” Res: Anthropology and Aesthetics ( ): – . ——— . “ Aby Warburg®s Pentimento.” Yearbook of Comparative Literature , no. ( ): – . , , and , eds. Mary Berenson: A Self-Portrait om Her Le ers and Diaries. London, . , . “Bernhard and Mary Berenson, Herbert P. Horne, and John G. John- son.” Prospe iva – (April –October ): – . ——— . Italian Paintings – in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, . ———. “Berenson, Sassea, and Asian Art.” In Sasse a: e Borgo San Sepolcro Altarpiece, edited by Ì , :– . Florence and Leiden, . , . Morgan: American Financier. New York, . , . “Persian Enchantment.” Financial Times, August . , . Voyage en Italie: Florence et Venise. Paris, . , . “A Twentieth-Century Dream with a Twenty-First-Century Outlook: Yashiro Yukio, a Japanese Historian of Western Art, and His Conception of Institutions for the Study of East Asian Art.” In Asian Art in the Twenty-First Century, edited by  ¯. , – . Williamstown, . , . Collezioni darte tra o ocento e novecento: Jacquier fotogra a Firenze, – . Naples, .
409 Bibliography , . “Temi profani e piura narrativa in Giovanni Bellini.” In Giovanni Bellini, exhibition catalog, edited by ¸ and ° ¥ Â, –. Milan, . , . “e Courtauld Institute of Art – .” Courtauld Institute of Art News ( ): –. , Â, . “e ‘Schedula® of eophilus Presbyter.” Speculum ( ): – . ——— . “ ‘ Ricepte d®aare piu colori® of Ambrogio di Ser Pietro da Siena.” Archeion ( ): – . ———. “e Study of Medieval Crasmanship.” Bulletin of the Fogg Art Museum ( ): –. ——— . Review of Technik des Kunsthandwerks im zehnten Jahrhundert, by Wilhelm eobald. Speculum ( ): – . ——— . e Practice of Tempera Painting. New York, . First published . ———. “eophilus Presbyter: Words and Meaning in Technical Translation.” Speculum ( ): –. ———. “Story of a Drop-Out.” Lawrentian ( e Lawrenceville Alumni Bulletin) ( ): – . , Â, ., and ° . An Anonymous Fourteenth- Century Treatise, De arte illuminandi: e Technique of Manuscript Illumination. New Haven, . , ¸ . “A Second Critique of English-Speaking Orientalists and eir Approach to Islam and the Arabs.” Islamic Quarterly ( ): – . , ¶ . “Dialectics of Modernity: Reenchantment and Dedierentiation as Counter processes.” In Social Change and Modernity, edited by and ¯ , – . Berkeley, . , ¥ . La pi ura umbra dal duecento al primo cinquecento. vols. Milan, . , . Tra ati medievali di tecniche artistiche. Milan, . , · ·. “Vetrine giapponesi.” In Carducci e DAnnunzio: Saggi e postille, – . Rome, . , . Rinascimento Americano: Bernard Berenson e la collezione Gardner – . Naples, . ——— . Berenson e Lo o: Problemi di metodo e di storia dellarte. Naples, . , ¯ °. “Telemaco Signorini and Macchiaioli Giapponismo: A Report of Re search in Progress.” Art Bulletin ( ): – . Æ , . Am Grabe der Mediceer: Florentiner Briefe über deutsche Kultur. Dresden, . ——— . Paris: Eine Impression, Berlin, . ——— . Picasso et la tradition ançaise. Paris, . ——— . Von Bismarck bis Picasso. Zurich, . New edition . Æ Í, ¸. Turkman Governors, Shiraz Artisans, and O oman Collectors: Sixteenth Century Shiraz Manuscripts. Istanbul, . Æ , . Philologie und Geschichtswissenscha. Bonn, .  , . “Alcuni contemporanei nlandesi di Lionello Venturi: Osvald Sirén, Tancred Borenius, Onni Okkonen.” Storia dellarte ( ): – .  , . Reading Orientalism: Said and the Unsaid. Seale, .  , . “Ritrao di dama di Paolo Veronese.” Larte (July ): f. IV, vol. III, n.s., – .  , ¸. Pi ure italiane in America, illustrate da Lionello Venturi. Milan, . English edition New York, . ——— . Storia della critica darte. Florence, .  , . “Islamic Art and Architecture: An Overview of Scholarship and Collecting, c. –c. .” In Discovering Islamic Art: Scholars, Collectors, and Collections, – , edi- ted by  , – . London and New York, .
410 Bibliography  , ¸ . “Bernard Berenson: Early Italian and Oriental Art.” In Great Private Collections, edited by , –. London, . ——— . “ I Tai.” Antichità viva: Rassegna darte , no. ( a): –. ——— . “ La raccolta Berenson di pagine e codici miniati.” Antichità viva: Rassegna darte , no. ( b): – .  -¯± , , and . Journal de voyage en Egypte: Roberto Morra di Lavriano et son journal de voyage. Paris, .  , . Aby Warburgs eorie der Kultur: Detail und Sinnhorizont. Berlin, .  , . Über das optische Formgefühl: Ein Beitrag zur Aesthetik. Leipzig, . Â, . “e Religious Meaning of Marius the Epicurean.” Nineteenth Century Fiction ( ): – .  , . “Una ‘Crocissione® di Jacobello del Fiore.” Arte antica e moderna ( ): .  , . Le Corbusier: Elements of a Synthesis. Revised and expanded version. Roerdam, . , . Self-Portrait with Donors: Confessions of an Art Collector. Boston and Toronto, . , . “Boicellis ‘Geburt der Venus® und ‘Frühling.®” PhD diss., Hamburg and Leipzig, . ——— . Ausgewählte Schrien und Würdigungen. Edited by . Baden-Baden, . ——— . e Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance. Los Angeles, . ——— . Der Bilderatlas Mnemosyne, edited by in collaboration with . Reprinted in Gesammelte Schrien: Studienausgabe. Vol. , no. . Berlin, . ——— . Tagebuch der Kulturwissenschalichen Bibliothek Warburg mit Einträgen von Gertrud Bing und Fritz Saxl, edited by and -° . Reprinted in Gesammelte Schrien: Studienausgabe. Vol. . Berlin, . , . “Bode and the British.” In Jahrbuch der Berliner Museen. Vol. . Beihe, . , . A Legacy of Excellence: e Story of Villa I Ta i. With photographs by ¥ and µ. New York, . , . “‘Wort und Bild®: Aby Warburg als Sprachbildner.” In Ekstatische Kunst Besonnenes Wort: Aby Warburg und die Denkräume der Ekphrasis, edited by · , – . Bozen, . , ° . Muhammad der Prophet, sein Leben und seine Lehre. Stugart, . , ². “Vernon Lee, Bernard Berenson, and Aesthetics.” In Friendships Garland: Essays Presented to Mario Praz on His Seventieth Birthday, edited by  °, : – . Rome, . , ¶. e Paintings of Titian. Vol. , e Portraits. London, . , ¶ . A Backward Glance. New York, . , . Metahistory: e Historical Imagination in Nineteenth-Century Europe. Baltimore and London, . , . “Arthur Kingsley Porter ( – ).” Harvard Alumni Bulletin ( No vem ber ): – . µ, , ed. Mir tanzt Florenz auch im Kopfe rum: Die Villa Romana in den Briefen von Max Klinger an den Verleger Georg Hirzel. Berlin and Munich, . , . Aby M. Warburgs Methode als Anregung und Aufgabe. Göingen, . Å , Ï. ル ネッサンスの イタリア 画 家 . Tokyo, . Å Å . Sandro Bo icelli. London and Boston, . ——— . Years of Japanese Art, edited by · . . New York, . Å , , and . . Oriental and Islamic Art in the Isabella Stewart Gardner Museum. Boston, .
411 Bibliography Å ¸ , . “e Acquisition of the Wegener Collection of Chinese Paintings by the British Museum.” e Burlington Magazine CLV, no. ( ): – . ¹ µ , . Frederick Law Olmsted and the Boston Park System. Cambridge MA, . ¹ , . I pi ori di Ercole I° dEste: Giovan Francesco Maineri, Lazzaro Grimaldi, Dome- nico Pane i, Michele Coltellini. Milan, . ¹ , · µ, and µ ¯ . Filippino Lippi. Milan, . ¹, ¥ . “Una precisazione su Bicci di Lorenzo.” Paragone , no. ( ): – . ——— . Diari di lavoro . Turin, . ———. “Una sala Alitalia ad Assisi nel sacro Convento: Le opere più belle della collezione Mason Perkins.” Giornale dellarte ( ): . ¹µ, . “‘Figures Reected in the Clear Lagoon®: Henry James, Daniel and Ariana Curtis, and Isabella Stewart Gardner.” In Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle, edited by , – . Boston, .
412 Bibliography Contributors
alison brown Brown is emerita professor of Italian Renaissance history at Royal Holloway, University of London. Her recent books include e Return of Lucretius to Renaissance Florence ( ) and Medicean and Savonarolan Florence ( ), with forthcoming essays on “Piero de’ Medici in Power,” “Dening the Place of Academies in Florentine Politics and Culture,” “Lucretian Naturalism and the Evolution of Machiavelli’s Ethics,” and “Leonardo, Lucretius, and eir Views of Nature.” dav id alan brown Brown is curator of Italian paintings at the National Gallery of Art in Washington, where he has organized many international loan exhibitions, including Bellini, Giorgione, Titian, and the Renaissance of Venetian Painting ( ). Brown’s monograph on Andrea Solario earned him the Salimbeni Prize, Italy’s most distinguished award for art books, in . His study Leonardo da Vinci: Origins of a Genius ( ) won the Sir Bannister Fletcher Award in for the most deserving book on art or architecture. In recognition of his achievement in furthering the appreciation of Italian culture, Brown was awarded the Order of Merit of the Republic of Italy in . kathryn brush Brush earned her PhD at Brown University; she is professor of art history in the depart- ment of visual arts at the University of Western Ontario, Canada. Her research focuses on Romanesque and Gothic art, medieval sculpture, the historiography of cultural- historical thought, and histories of museums, archives, and art collecting. Her books include e Shaping of Art History: Wilhelm Vöge, Adolph Goldschmidt, and the Study of Medieval Art ( ) and Vastly More than Brick and Mortar: Reinventing the Fogg Art Museum in the s ( ). She recently organized an exhibition, with accompanying book, on Mapping Medievalism at the Canadian Frontier ( ). Currently, she is prepar- ing a book that explores the scholarly imagination of the pioneering American medi- evalist Arthur Kingsley Porter.
413 thea burns Burns received her PhD from the Courtauld Institute of Art, University of London; her MAC from the art conservation program, Queen’s University, Kingston, Ontario; and her BA (honors, rst class) from McGill University, Montreal. She received a cer- ticate in paper conservation from the Center for Conservation and Technical Studies, now Straus Center, Harvard University Art Museums. She served as Helen H. Glaser Senior Paper Conser vator for Special Collections in the Weissman Preservation Center, Harvard College Library, as associate professor in the art conservation program, Queen’s University, and as a conservator in private practice. She has published in numerous pro- fessional journals and conference postprints. She is the author of e Invention of Pastel Painting ( ) and e Luminous Trace: Drawing and Writing in Metalpoint ( ); she is currently an independent scholar.
mario casari Casari studied Persian and Arabic languages in Italy and the Middle East, and obtained his PhD in Iranian studies at the Istituto Universitario Orientale, Naples. He is lecturer in Arabic language and literature at the Italian Institute of Oriental Studies, University of Rome “La Sapienza.” His research deals with cultural relations between Europe and the Islamic world from late antiquity to the modern age. He has published a number of stud- ies concerning the transmission of narrative works in the Arabic and Persian traditions in particular the Alexander Romanceand on the circulation of literary, iconographic, and scientic themes between East and West. In , he was awarded the Al-Farabi- UNESCO prize for his book Alessandro e Utopia nei romanzi persiani medievali ( ). For his research on Oriental studies in Renaissance Italy, he was made Andrew W. Mellon Fellow at I Tai in –, where he became acquainted with the Berenson Archive.
robert colby Colby holds a PhD in art history from the Courtauld Institute of Art. He is currently working on a book about Bernard Berenson’s aesthetic utopia, Altamura. In , he held a Craig Hugh Smyth Visiting Fellowship at Villa I Tai. In , he received a Franklin Research Grant from the American Philosophical Society. He is currently a fellow at the Institute for the Arts and Humanities at the University of North Carolina at Chapel Hill.
joseph connors Connors, a New Yorker by birth and formation, earned his doctorate in at Harvard University and has taught Renaissance and baroque art at the University of Chicago, Columbia University, and Harvard University. He was director of the American Academy in Rome from to and of Villa I Tai from to . He has held fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and the American Council of Learned Societies; he has published books on Francesco Borromini, Roman urban history, and Giovanni Baista Piranesi.
414 Contributors robert and carolyn cumming Robert Cumming is an adjunct professor of the history of art at Boston University. Educated at the University of Cambridge, he worked for the Tate Gallery and was then responsible for founding and running Christie’s Education. In , he joined Boston University to lead its London campus. He and his wife Carolyn, who is an independent scholar and garden designer, have devoted many years to the study of connoisseurship and the Berenson circle. Carolyn Cumming, who is high sheri of Buckinghamshire and fellow of the Royal Society of Arts, has supported the Buckinghamshire and Milton Keynes Community Foundations by horse riding from the north to south of the county to raise funds for charities that support families and children. jeremy howard Howard is head of research at Colnaghi and senior lecturer in the history of art at the University of Buckingham, where he heads the department of art history and heritage studies. He studied English at Oriel College, Oxford, and Italian Renaissance art at the Courtauld Institute of Art. Aer working for thirteen years in the London art market, he taught history of art for ten years at the University of Buckingham and for three years at Birkbeck, University of London, before rejoining Colnaghi as head of research in . He also runs an MA program in eighteenth-century interiors and decorative arts in collabora- tion with the Wallace Collection. His research interests lie mainly in the eld of British eigh- teenth-, nineteenth-, and early twentieth-century collecting and the development of the London art market. Recent publications include Frans Hals’s St. Mark: A Lost Masterpiece Rediscovered ( ), Cranach ( ), Colnaghi: e History ( ), and “Titian’s Rape of Europa: Its Reception in Britain and Sale to America” ( ). isabelle hyman Hyman is professor emerita in the department of art history at New York University, where she taught for forty years. She received her BA from Vassar College, her MA from Columbia University, and her MA and PhD in art history from New York University’s Institute of Fine Arts. Her elds of specialization are the history of architecture, Italian Renaissance art and architecture, and the architecture of Marcel Breuer. She has been the recipient of a Guggenheim Fellowship and a grant from the Graham Foundation for Advanced Studies in the Fine Arts; she was Kress Fellow at Villa I Tai in –. She was Robert Sterling Clark Visiting Professor at Williams College, and for several terms served as editor and coeditor of the College Art Association’s scholarly monograph series. In addition to articles and reviews, she is the author of Brunelleschi in Perspective ( ), Fieenth-Century Florentine Studies: Palazzo Medici and a Ledger for the Church of San Lorenzo ( ), and Marcel Breuer, Architect: e Career and the Buildings ( ) the laer was one of two winners in of the Alice Davis Hitchcock Book Award given annually by the Society of Architectural Historians for “the most distinguished work of scholarship in the history of architecture.” She is also coauthor with Marvin Trachtenberg of Architecture: From Prehistory to Postmodernity ( ). She has served
415 Contributors on the boards of the College Art Association, the Society of Architectural Historians, the Friends of the Vassar Art Gallery, and the Muscarelle Museum at the College of William and Mary.
elisabetta landi Landi, an ocial in the national heritage administration, is the granddaughter of the col- lector Carlo Alberto Foresti; she studied medieval and modern art at the University of Bologna. She focuses on the history of collecting, especially that of Carlo Alberto and Pietro Foresti, as well as the laer’s connection with Adolfo Venturi, and the patronage of the artist Giovanni Muzzioli. She has published numerous articles on the baroque and neoclassical decorations of Emilia-Romagna, specically on Stefano Orlandi, including his entry in the Dizionario Biograco degli Italiani. She has also studied the iconography and iconology of Pomona, Venus, and Heliades, and emblematic literature. Her current research is on mystical and ascetic women. She also contributes to several scholarly jour- nals and organizes conferences.
william mostyn- owen Mostyn-Owen, who died on May , was introduced to Bernard Berenson and I Tai by Rosamond Lehmann in the autumn of and acted as Berenson’s assistant until the connoisseur’s death in , working on the revision of Lorenzo Lo o and, with Luisa Vertova, on the Venetian and Florentine Lists. He compiled the Bibliograa di Bernard Berenson ( ) and was instrumental in obtaining Harvard University’s acceptance of the villa. He joined the Old Master department of Christie’s, London, in , was appointed a director at Christie’s in , and was made chairman of Christie’s Education in . He retired in .
bernd roeck Roeck studied history and political science at the University of Munich, where he earned his PhD in . ereaer, he was a fellow of the Leibniz Institute of European History (Mainz) as well as scientic assistant at the University of Munich. In , he obtained his habilitation with a study on the city of Augsburg during the irty Years’ War. From to , he was director of the Centro Tedesco di Studi Veneziani in Venice. From to , he held the chair of medieval and modern history at the University of Bonn; from to , he was on leave and lled the position of secretary general of the Villa Vigoni Association in Loveno di Menaggio, Italy. Since , he has held the chair of modern his- tory at the University of Zurich, Switzerland. His work covers the artistic, cultural, and social history of the irty Years’ War and the European Renaissance.
dietrich seybold Seybold, independent scholar at Basel, has, aer completing his PhD at the University of Basel ( ), carried out research in the areas of history and art history. His book on Leonardo da Vinci and the Oriental world ( ) has reexamined the myth of Leonardo
416 Contributors traveling to the East and provided the rst overview on all Oriental references in Leonardo’s life, notes, and oeuvre. His main area of research is now the history of connois- seurship, with a forthcoming biography of the Leonardo scholar and pupil of Giovanni Morelli, Jean Paul Richter ( – ), as well as a brief history of the painting collection of Henriee Hertz, commissioned by the Bibliotheca Hertziana ( , in Italian). carl brandon strehlke Strehlke, adjunct curator of the John G. Johnson Collection at the Philadelphia Museum of Art, is the author of the catalog of that collection’s early Italian paintings. He has been involved in exhibitions on Sienese Renaissance art, Fra Angelico, Pontormo, and Bronzino at both the Philadelphia Museum of Art and the Metropolitan Museum of Art. He is chief editor of the forthcoming catalog of paintings in the Bernard and Mary Berenson Collection at Villa I Tai. claudia wedepohl Wedepohl (PhD, University of Hamburg) is an art historian who joined the sta of the Warburg Institute in . Since , she has been the institute’s archivist. Her research focuses on two elds: the reception of late antique models in eenth-century Italian art and architecture, and the genesis of Aby Warburg’s cultural theoretical notions. She is the author of In den glänzenden Reichen des ewigen Himmels: Cappella del Perdono und Tempie o delle Muse im Herzogpalast von Urbino ( ), coeditor of Aby M. Warburg’s Per Monstra ad Sphaeram: Sternglaube und Bilddeutung ( ; Italian edition, ), and coeditor of the multivolume edition of Aby Warburg’s collected writings, Gesammelte Schrien, Studienausgabe ( –).
417 Contributors
Index
Page numbers in italics indicate illustrations.
Abbo, Senda Berenson (sister of Bernard Alte Pinakothek, Munich, Berenson), , Altman, Benjamin, Adams, Henry, Altman, Robert, , , aestheticism: Dionites, “Altamura,” and e American Academy of Arts and Leers, Golden Urn, – , , , – , – ; Bernard Berenson®s membership in, Islamic art and culture and, – , American, Bernard Berenson®s self- ; Panofsky®s condemnation of, ; identication as, – , Il Piacere (D®Annunzio, ) and aes- e American Scene (James, ), thetic movement in Italy, ; Warburg®s “Amico di Sandro” (Berenson, ), rejection of, , , , Amori (Dossi, ), , Aesthetics and History (Berenson, ), , Ānanda statue (Chinese, Northern Qi , – , dynasty, ca. ), , Aga-Oglu, Mehmet, , Anderson, Jaynie, Agnew®s (art gallery), , Andreas-Salomé, Lou, Ailey, Alvin, Anet, Claude, , Alberti, Guglielmo degli, – Angelelli, Walther, , Alberti, Leon Baista, Anglo-Catholicism, –, Alberti Lamarmora, Annunciation (Boicelli), n Alessandro Filipepi, Commonly Called Sandro Annunciation (arib. Catena), Pio chapel, Bo icelli (Horne), , Carpi, Algeria: Bernard Berenson®s travels in, ; Annunciation (Lippi), Bernard Berenson®s views on revolt against Annunciation (Masolino da Panicale, the French, – ca. / ), , Allendale Nativity (Giorgione), Annunciation (Scarsellino), Allegory (Bellini), Anrep, Baronessa Alda von, Allen, Marion Boyd, Anstruther-omson, Clementina Caroline Alliata di Salaparuta, Topazia, (Kit), Altamura Garden Pavilion, Fenway Court, Anthology (Prince Baysunghur), , , , – , – ; artistic and cultural evo- – lution of Gardner and, –, , ; as Apollo (Reinach, ), “carriage house,” , , , , –, ; Apollonio di Giovanni, n , , , design and construction of, , –, , , , –, ; Dionites, “Altamura,” and “Apologia of an Art Historian” (Clark, ), e Golden Urn, – , – , – , , – –, , –, , –, ; Monte e Archangel Gabriel (Sco, aer Boicelli, Oliveto Maggiore and, , –, ; ), postcard of Bari Gate, Altamura, inspiring, Architecture of the Renaissance in Italy , – , , ; purpose of, , , – , (Burckhardt), , ; Tremont Entrance to Olmsted®s Ardizzone, Heidi, Back Bay Fens and, – , , Aretino, Spinello,
419 “Ariosto” (Titian), now called Man with a Barberino Master, n Quilted Sleeve or Portrait of Girolamo (?) Bardini, Stefano, –, Barbarigo, , Barr, Alfred H., Jr., , Aristotle with a Bust of Homer (Rembrandt), Bassei, Marcantonio, Bathing Woman (Cézanne), Armenian miniatures, Bernard Berenson®s Ba le of the Sea Gods (Mantegna), – brief interest in (ca. ), n Baudelaire, Charles, , Arnold, Mahew, Baysunghur, , , , – Art and Illusion (Gombrich, ), , Beaton, Cecil, arts and cras movement, Beay, Talley, , , Ashburnham, Lord, –, “Beauty and Ugliness” (Lee, ), n , Asian art, – , – ; Berenson, Mary, – on, , , , – , ; Clark and, Beecher, Henry Ward, , ; collected by Bernard Berenson, Begarelli, Antonio, – , – ; comparisons between Behzad, , Western art and, – , , , , Beit, Sir Alfred, , , , n ; Fenollosa®s inuence Bella Nani (Veronese), on Bernard Berenson regarding, , , Belle Ferronière (da Vinci), – , , , n; Franciscan and Bellini, Gentile, Buddhist spirituality, Bernard Berenson®s Bellini, Giovanni, , , , , – , comparison of, , – , , ; limita- – tions of Chinese art, Bernard Berenson on, Bellini, Jacopo, , – , n; Sassea altarpiece and, – , , Benzoni, Giuliana, n , , , , , n , ; Sienese art Berenson and the Connoisseurship of Italian and, – , , – ; Sirén and, – Painting (exhibition, National Gallery of ; ompson on Fogg Museum®s China Art, Washington, ), , Expeditions, – ; in Villa I Tai®s “Berenson at Harvard: Bernard and Mary as interior decoration, , –, – ; Students” (virtual exhibition, Villa I Tai, Western vogue for, , – , , ; ), Yashiro Yukio and Bernard Berenson, Berenson, Bernard, – ; as agent and dealer, n , – , ; American Academy of Arts and Leers, Aspertini, Amico, membership in, , – ; American, Assing, Ludmilla, self-identication as, – , ; art Assisi, Bernard Berenson®s experience of collection of, ; “Bernard Berenson color in, n at Fiy” conference (October ), At the Seashore (Conder), ; Catholicism, conversion to, , ; avant-garde, Florence and emergence of, , childlessness of, ; connoisseurship – , , – of, – (See also connoisseurship of Azzolini, Tito, Berenson); correspondence of, –, –, , (See also specic correspondents); cri- Back Bay Fens, Boston, – , tical reception of ( – ), –; death Bagnacavallo, , of ( ), , ; education at Harvard, , Baigneuse Blonde (Renoir), , – , ; fascism, opposition to, , Balanchine, George, n , , –, n ; Florence of, Balbo, Italo, – , – (See also Florence, ca. ); Baldi, Bernardino, n Gardner and, – (See also Altamura Ballet Nègre, Garden Pavilion, Fenway Court; Gardner, Ballets Russes, Isabella Stewart); Hemingway and, ; Balzac, Honoré de, Herrick novel, response to, – ; Islamic Bambach, Carmen, and Asian art, interest in, – (See Banti, Anna, also Asian art; Islamic art and culture); Baptism of Christ (Calvaert), , Jewishness of, , , , , n , , , , Barbantini, Nino, , – , ; legacy of, ; marriage
420 Index of, , , ; modern art, aitudes toward, n ; ree Essays in Method ( ), , , , , , , , , – ; Museum n , ; e Venetian Painters of the Course, Fogg Museum, Harvard, and, Renaissance ( ), , , , , , – ; on Nazism, – ; Parker – , , n ; on Venetian painting Traveling Fellowship application, rejec- in New Gallery ( ), . See also lists tion of ( ), , , n, – , n; compiled by Bernard Berenson photographs, use of, , – , ; pro- Berenson, Mary (née Smith, then Mary tégés of, – , n , – (See also Costelloe; wife): Dionites, “Altamura,” specic protégés); public aention, dislike and e Golden Urn, – , – , , , of, ; publishing and writing inhibitions , , – ; art trade, encouragement of, , n , n , ; scholarship of Bernard Berenson to enter, n , ; of, –; tactile values, concept of, – , Asian art and, , , , – , ; – (See also tactile values); technical cassone panel from Jarves collection, Yale aspects of art, lack of interest in, , , University, aribution of, , – , ; – ; Warburg and, – , – (See childlessness of, ; Clark and, – , also Warburg, Aby); women and, , , , , , , n ; correspondence n, , , –, – , of Bernard Berenson and, ; death of Berenson, Bernard, photographs of: in ( ), ; on owers in dining room chaueured automobile with Mary, Italy at I Tai, ; Gutekunst and Colnaghi (ca. ), , ; with Clark ( ), ; Gallery, –; Herrick novel, response with Dunham (ca. ), , ; in hall to, – ; on Hildebrand, , n ; of I Tai ( ), ; with Maraini family Huntington, Archer, and, , –, , ( ), ; with Morra ( ), ; with , , ; on Islamic art and culture, Mostyn-Owen in garden of I Tai ( ), , , , – nn– , , n , ; in Poggio allo Spino ( ), ; in – n , n , n , – ; study at I Tai ( and ), , ; James, William, and, , , ; “Life traveling in Islamic world ( –), of BB,” n , n ; linguistic abilities – ; with Walker ( ), , ; of, ; list of Bernard Berenson®s rea- writing in bed (n.d.), ding maer ( ), , n , n ; Berenson, Bernard, works of: Aesthetics marriage to Bernard Berenson, , ; and History ( ), , , – , ; marriage to Frank Costelloe, , ; “Amico di Sandro” ( ), ; on Arch of Mayor, A. Hya, and, , , ; Morra Constantine, ; Central Italian Painters and, ; Obrist and, ; photographs of, of the Renaissance ( ), , , n, , ; Porters and, ; as public spe- , , n ; Drawings of the Florentine aker, – ; Richter and, , n ; as Painters ( ), , , , , , n , student at Harvard, ; tactile values and, , – , , , ; Florentine , , – ; typewriters given to, , Painters of the Renaissance ( ), , , ; Walker and anthology project, ; , , , , , , , , n ; on wealthy clients, , –; Yashiro “Ghazel: ought and Temperament” Yukio and, – , n , n (poem), , – ; Italian Painters of Berea, Maria, – the Renaissance ( ), , , , , , Bergson, Henri, , , , , ; Italian Pictures of Berkeley, George, n the Renaissance, , , , ; Lorenzo Bernard Berenson: e Making of a Lo o ( ), –, ; North Italian Painters Connoisseur (Samuels, ), ( ), n , n, n , ; One Bernard Berenson: e Making of a Legend Years Reading for Fun ( ), ; publi- (Samuels, ), shing and writing inhibitions of Bernard Bernheim (dealer), Berenson, , n , n , ; e Beini, Maria Teresa (“Lucia”), Rudiments of Connoisseurship ( ), , Beyond Architecture (Porter, ), , ; Rumour and Reection ( ), ; Beyond Good and Evil (Nietzsche), Sketch for a Self-Portrait ( ), , –, Biagio d®Antonio, , – , – , , n , n , Bicci di Lorenzo, , ,
421 Index Biddle, Katherine, Brancusi, Constantin, Bindo Altoviti (Cellini), Braque, Georges, – , , , Bing, Gertrude, , , n, Breugel, Pieter, Binyon, Laurence, , , , Brewster, Christopher, Birth of St. John (Ghirlandaio), , Brewster, Henry B., – , , e Birth of Tragedy (Nietzsche, ), , Brewster, Lisl Hildebrand, , , , , Black Square (Malevich), British aristocracy, sales of old masters by, Blair, Sheila, –, – Blake, William, Brockhaus, Heinrich, , , , Blechen, Karl, Bromhead, Mr., Blenheim Palace, Raphael altarpiece from, Bronzino, n Blochet, Edgar, n, , Brown, Alison, – , , e Blood of the Redeemer (Bellini), – Brown, Charloe Cabot, Blue Boy (Gainsborough, ca. ), , Brown, David Alan, , , – , Brown, J. Carter, , n Blues for the Jungle (ballet; Pomare), Brown, John Nicholas, Boas, Franz, Brunelleschi, Filippo, Bode, Wilhelm von, n , , – , , Brush, Kathryn, , , – , , , Buccleuch, Duke of, Boito, Camillo, Buddha head (Head of Ānada, Javanese, Bonaparte, Paulina, eighth–eleventh century), , , Bonomi (industrialist), , , Buddha statue of Ānanda (Chinese, Book of Tea (Okakura Kakuzo), Northern Qi dynasty, ca. ), , Bordone, Paris, , Buddhist altar (sixth century), Borghese Gallery, Rome, – Buddhist and Franciscan spirituality, Borgo San Sepolcro altarpiece (Sassea), Bernard Berenson®s comparison of, , – , , , , , , n , – , , Bosanquet, Bernard, n Bualmacco, Buonamico, Boicelli, Sandro: Alessandro Filipepi, Burckhardt, Jacob, , – , , , – Commonly Called Sandro Bo icelli (Horne), , , , n, , ; “Amico di Sandro” (Berenson, “Burgundian Heresy” of Porter, – ), ; Annunciation, n; e e Burial of a Franciscan Friar (Magnasco), Archangel Gabriel (Sco, aer Boicelli, ), ; Bernard Berenson®s appreciation Burne-Jones, Edward, of, ; in Berenson and the Connoisseurship Burning of Troy (Jolli), of Italian Painting (exhibition, National Burns, ea, , , Gallery of Art, Washington, ), ; Burrel Madonna (Bellini), Gutekunst and Colnaghi Gallery, , Burroughs, Alan, –, ; Madonna of the Eucharist (early Burton, Richard Francis, s), , , ; “myth of Florence” and, , ; Pallas and the Centaur, ; Prince Callmann, Ellen, n Chigi®s export sales of works of, n , ; Calo, Mary Ann, tactile values and, ; Tragedy of Lucretia Calvaert, Denys, , (ca. – ), , –, , ; Trinity, ; Cameroni, Felice, Uhde on, ; Venus Rising om the Sea, ; Campori, Marchese Maeo, , la Virgine col bambino benedicente loerta Campori, Marchese Onofrio, dun angelo, n ; Warburg and, , ; Cannon, Henry W., n Yashiro Yukio®s study of, , – , Caprice in Purple and Gold: e Golden Screen Bowers, Claude G., (Whistler), Bracci family, , Carandini, Elena, Bradley, Katherine (“Michael Field”), Caravaggio, Michelangelo Merisi da, , Braglia, Martinelli, , Carlisle, Earl of, Brancacci Chapel frescoes (Masaccio), Carlyle, omas, – , – ,
422 Index Carnarvon, Lord, n Civilization (Clark, book and television Caroto, Giovanni Francesco, series), , Carpaccio, Viore, Civilization of the Renaissance in Italy Carpano, G. B., n (Burckhardt, ), , , , Carpi, ; Castello Pio, preservation of, , Clark, Alan (son), , , ; Museo Civico, , , , – ; Clark, Colee (daughter), Palazzo Foresti, , – , , , . Clark, Jane Martin (wife), , , , n See also Foresti, Carlo Alberto Clark, Kenneth, – , – ; “Apologia Carpi, ein Fürstensitz der Renaissance of an Art Historian” ( ), – ; at (Semper, ), Ashmolean, ; Civilization (book and Carstairs, Charles, n , , television series), , ; correspondence Carter, Howard, n with Bernard Berenson, – , ; Casanova, Achille, Drawings of the Florentine Painters, work on Casari, Mario, , , revision of, , , , – , , – Cassa, Mary, ; encomia on Bernard Berenson, – , , cassone panel from Jarves collection, Yale , – , , ; rst impressions of I University, aribution of, , , , Tai household regarding, ; e Gothic – , , Revival ( ), , ; joint inuen- Castagno, Andrea del, ces on and beliefs of Bernard Berenson Catena, Vincenzo, , –, and, – ; Landscape into Art ( ), Caaneo van Dycks, , ; lecturing and television career, , Cavalcaselle, Giovanni Baista, , – ; legacy of, – ; Leonardo Caves of the ousand Buddhas, Dunhuang, da Vinci ( ), , , ; marriage Western China, – of, , ; Mayor, A. Hya, and, , ; Cellini, Benvenuto, , Moments of Vision (Clark, ), , ; Cencis, Nina de, Morra and, , n, ; at National Cennini, Cennino, , , , , Gallery, London, – , , – , Central Italian Painters of the Renaissance n , , n ; National Gallery pho- (Berenson, ), , , n, , tographic books of, n; nature of , n relationship between Bernard Berenson Cézanne a Firenze (exhibition, Palazzo and, – , – ; on ninetieth birth- Strozzi, Florence, ), , day of Bernard Berenson, ; e Nude Cézanne, Paul, , , , , , – , , ( ), , , ; Pagan Sacrice (pen- , , , n , , , dant) at Saltwood, ; photograph of Chardin, Jean-Siméon, Clark and Bernard Berenson ( ), ; Charles I of England, , , photographs of, , , ; Piero della Chiesa, Achillito, Francesca ( ), , ; as protégé of Chigi, Prince, n , Bernard Berenson, – , ; on “pure Chinese art. See Asian art aesthetic sensation,” n ; Rembrandt Choice of Books om the Library of Isabella and the Italian Renaissance, ; Sach®s Stewart Gardner, Fenway Court (Gardner, Museum Course students addressed by, ), ; Saltwood Castle, , , ; at Chong, Alan, , , n , – Villa I Tai, – , , , , ; Christ (Mantegna), Walker compared, , , ; Warburg Christina of Denmark, Duchess of Milan and, , , – , ; wealth of, , (Holbein the Younger, ), – , , ; Yashiro Yukio and, n , Clark, Robert Sterling, –, – , , Church of the Advent, Boston, – Clouet, François, , Cicerone (Burckhardt), , Cluny, abbey church of, , El Cid, Huntington translation of, , Cocteau, Jean, Cimabue, Cohen, Rachel, Cione, Jacopo di, Coiano, Bartolomeo da, n Colby, Robert, , ,
423 Index Cole, Fay Cooper, Cruwell, Maud, Collingwood, R. G., , cubism, , – , – Colnaghi, Dominic, Cumming, Carolyn, , , Colnaghi Gallery, London. See Gutekunst, Cumming, Robert, , , , Oo, and Colnaghi Gallery, London Cummings, Paul, Colonna Madonna (Raphael), Cunard, Nancy, Columbus, Christopher, , Cvjetćanin, Tatjana, Commissione di Storia Patria e Belle Arti, Cyrenaicism, , – “A Comparative Analysis of the Dances of Haiti” (Dunham, / ), da Carpi, Girolamo, e Concert (Vermeer), Daddi, Bernardo, Concert Champêtre (Titian), Daitokuji paintings, exhibition, Boston Conconi, Luigi, , Museum of Fine Arts ( ), – , Conder, Charles, Dalí, Salvador, connoisseurship of Berenson, – ; ambi- Damascus, Great Mosque of, , – valence of Bernard Berenson regarding, Dancing Girls of Kutcha (scroll painting, , n , , ; approach to study of tenth–eleventh century), , , art inuenced by, , , – ; criti- Dandolo, Andrea, n cal reception and, , , –, ; teaching of, D®Annunzio, Gabriele, – – , – ; ree Essays in Method Darnley, Lord, , , – , , (Berenson, ) and, ; Warburg and, Darwin, Charles, . See also Gardner, Isabella Stewart; Davenport-Hines, Richard, Gutekunst, Oo, and Colnaghi Gallery, Davies, Norman de Garis, n London; Morelli, Giovanni; Richter, Davis, eodore M., , n Jean Paul De arte illuminandi (trans. and ed. ompson, Connors, Joseph, , , , , ), e Consecration (Magnasco), De Marchi, Andrea G., , Constantine I the Great (Roman emperor), de Montesquieu, Count Robert, , De rerum natura (Lucretius), e Construction of Lombard and Gothic Deacon, Gladys, Vaults (Porter, ), e Death of the Gods (Nietzsche), Conti, Angelo, Degas, Edgar, , , , , , Contini Bonacossi, Alessandro, , , , Del Turco, Pellegrina, , , , Delaunay, Robert, Conversations with Berenson (Morra), , Demoiselles dAvignon (Picasso), Coolidge, Baldwin, Demoe, Georges, , , Coolidge, John, Denis, Maurice, , Coomaraswamy, Ananda K., Deposition (van der Weyden), , Cooper, Edith (“Michael Field”), Deprez, Edmond, , , n , , , n Corot, Jean-Baptiste-Camille, Derain, André, , Costa, Enrico, – , , nn– Derrida, Jacques, Costelloe, Frank, , Di Stefano, Dino, Costelloe, Mary. See Berenson, Mary Diana, Benedeo, Coster, Charles Henry, A Dierent Person (Merrill, ), Count-Duke of Olivares (Velázquez), Dionites, “Altamura,” and e Golden Urn, Crespi, Giuseppe Maria, – – , – , – , , –, , –, Creswell, Keppel Archibald Cameron, , , , –, . See also Altamura Garden , Pavilion, Fenway Court Crispi, Francesco, Doetsch sale ( ), n Crivelli, Carlo, , – Dolmetsch, Arnold, Crucixion (del Fiore), Donna Laura Minghe i (da Vinci), Crucixion with Saints (Puccio di Simone and Doria, Count, Master of Barberino), n
424 Index Dormition and Assumption of the Virgin (Fra lawsuit, ; Huntingtons and, –, Angelico), ; rivalries between clients fomented by, Dörner, Max, ; ompson and, – Dossi, Carlo, Douglas, Robert Langton, , , , , Eastlake, Charles, , Drawings of the Florentine Painters (Berenson, Egg (Brancusi), ), , , , , , n , , – , “Egg and Plaster” course of Edward Forbes, , , Harvard University, Drigo, Paola, Egypt: Bernard Berenson®s following of poli- Dufy, Raoul, tical events in, ; Bernard Berenson®s Duky, Jean, – travels in, – , , , – Duncan, Isadora, Eibner, Alexander, Duncan, Sally Anne, , – Einfühlung, , Dunham, Albert (brother), , Einstein, Lewis, Dunham, Albert (father), Eisler, Robert, Dunham, Fanny June (mother), El Cid, Huntington translation of, , Dunham, Katherine, , –; age die- e Energies of Men (James, ), , rence between Bernard Berenson and, Epicureanism, – , – – , ; as anthropologist, –; “Epistle to the Americanized Hebrews” “A Comparative Analysis of the Dances of (Berenson, ), n Haiti” ( / ), ; correspondence Epochs of Chinese and Japanese Art (Fenollosa, with Bernard Berenson, , , – , ), – , , , – ; as dancer and “Essai d®imitation de l®estampe japonaise” choreographer, – , , –, (Cassa, ), –, , , ; death of ( ), Este, Isabella d®, , , ; family background, education, and Estimé, Dumarsais, , career, – , –, –; rst Einghausen, Richard, – , – meeting with Bernard Berenson, ; Europa (Titian), , , – , , Haiti and, , –, , ; paintings Eye of the Beholder (exhibition, Isabella of, – ; photographs of, , , ; Stewart Gardner Museum, ), , race, social boundaries imposed by, , , , n , –; relationship with Fabbri, Egisto, Bernard Berenson, –, –, – Fantin-Latour, Henri, , –; Southland (ballet), conict Farhād va Šīrīn (Farhad and Shirin; Mulla with Bernard Berenson over, , –, Vahshi, early seventeenth century), , – ; A Touch of Innocence ( ), fascism, , n , , –, , , ; Tropic Death (ballet), ; at Villa I n Tai, , , , – , , , ; Fenollosa, Ernest Francisco, , , – , vodun, involvement with, , –, , , n ; Yashiro Yukio and, Fenway Court. See Isabella Stewart Gardner Dunhuang, Caves of the ousand Buddhas, Museum/Fenway Court Western China, – Ferdowsi, , , , Durand-Ruel, Paul (dealer), Ferguson, Wallace, Dürer, Albrecht, , , , , Ferrari, Defendente, Durkheim, Émile, Fiedler, Konrad, , Dussler, Luitpold, Field, Michael (Katherine Bradley and Edith Duveen Brothers, Cooper), Duveen, Henry, n Figure in Landscape (arib. Loo), Duveen, Joseph: Bernard Berenson as agent Fiocco, Giuseppe, , , , for, , , , , , , , , , ; Fiorentino, Pier Francesco, n Clark and National Gallery, ; Forestis Flaubert, Gustave, – and, , ; Gutekunst and Colnaghi Florence, ca. , – , – ; avant- Gallery, , , , –, , – ; Hahn garde, emergence of, , – , ,
425 Index – ; Burckhardt®s historiographic Fourth Crusade, n concept of the Renaissance and, , Fra Angelico, , , – , , , – , ; as European “Fragment of the Nymph” (Warburg, ), Other, – ; light of, – ; literary – salons and artistic circles, , – ; France, Anatole, May Troubles ( ), , ; modernism/ Franciosi collection, , modernity and, , , – , , – Francis, Frances, , , – ; “myth of Florence,” , Francis, Henry, – , ; noise levels in, – ; “real” Franciscan and Buddhist spirituality, Florence, , – ; scent of, – , Bernard Berenson®s comparison of, , , ; tactile values, concept of, ; – , , Uhde and, – , , – Freedman, Jonathan, Florentine Painters of the Renaissance Freer, Charles Lang, (Berenson, ), , , , , , , Freer Gallery, Washington, , , , , n Freud, Sigmund, , , Florenz : Die Suche nach Arkadien Frick, Henry Clay, and Frick Collection: (Roeck, ), Clark and Bernard Berenson on Bellini®s Fogg Museum, Harvard. See Harvard St. Francis in the Desert, – ; Gardner University compared, ; Gutekunst and Colnaghi Forbes, Edward, , n , , – , , Gallery, , , , , , , – , n, n , , , ; Huntington, Arabella, and, Foresti altarpiece (arib. Grimaldi), n Friedländer, Max, , n Foresti, Carlo Alberto, , – ; additions Friedrich, Caspar David, to Carpi civic collections and restoration Frizzoni, Gustavo, , , , n , , , of Castello Pio, , – ; art collection of, , , , – ; aributions Fromentin, Eugène, and publications of Foresti paintings by Fromm, Erich, , , Bernard Berenson, , , n, , fruit-bearing girl, Warburg on, , , , , ; correspondence with Fry, Roger, , , , – , , Bernard Berenson, – ; death of Fujimaro, Tanaka, ( ), ; education, inuences, and e Funeral of Patroclus (Aspertini), development as antiquarian and connois- futurists, seur, – ; family background and father®s art collection, – , , , ; Gainsborough, omas, , – , Fototeca Berenson used to trace collection Galilei, Galileo, of, , – , , , ; photograph Galton, Arthur, of, ; relationship with Bernard Berenson, Ganz, Paul, , – , , ; sale of father®s art col- Gardner, Isabella Stewart, – ; artistic and lection ( ), – . See also Carpi cultural evolution of, –; Asian and Foresti, Erminia (wife), , Islamic collections of, , , , n, Foresti, Luigi (ancestor, ), , , ; Bernard Berenson as agent for, Foresti, Luigi (ancestor, ), , , , , , –, ; Choice of Books Foresti, Luigi (son), om the Library of Isabella Stewart Gardner, Foresti, Pietro (father), , , – , , Fenway Court ( ), ; correspondence Forster, E. M., , with Bernard Berenson, –, , –, , Forti, Fermo, , , n, , , , ; nancing Forty Years with Berenson (Mariano, ), of Bernard Berenson®s early European , travels by, –, , , , ; on Greene, “Four Gospels” (Berenson), , , . See also Belle da Costa, ; Gutekunst/Bernard Central Italian Painters of the Renaissance; Berenson/Gardner, triangular relationship Florentine Painters of the Renaissance; between, , , , , , – , –; North Italian Painters; e Venetian Huntingtons and, , , ; Matisse, Painters of the Renaissance appreciation of, ; Pole-Carew Holbein
426 Index scandal, –; Sargent portrait, ; Stuart Goldman, Henry, dynasty and, , ; Villa I Tai, visit to, ; Goldman Sachs, Yashiro Yukio and, , n , n . See Goldschmidt, Adolph, also Altamura Garden Pavilion, Fenway Gombrich, Ernst, , n, , , n , Court; Isabella Stewart Gardner Museum/ , , n, Fenway Court Gondola Days (exhibition, Isabella Stewart Gardner, John Lowell (“Jack”; husband), Gardner Museum, ), n , , , , e Gospel of Freedom (Herrick, ), Gardner Museum. See Isabella Stewart Gospels of Anarchy (Lee, ), Gardner Museum Gothic Revival, , , , , Garstang, Donald, e Gothic Revival (Clark, ), , Garton, John, – Goupil et Cie, – Gates, Helen Manchester, Grabar, Oleg, Gauguin, Paul, Granville-Barker, Harley, n Geertz, Cliord, Gray, Simon, Gecken, Johannes, n Great Kanto Earthquake ( ), , Gellhorn, Martha, Great Mongol Shahnama (Ferdowsi): ca. Gemäldegalerie, Berlin, nn – , , manuscript of, , , ; ca. – , , – manuscript of, , Gems of the Manchester Art Treasures Exhibi- Greene, Belle da Costa, , , , , , , tion (Colnaghi and Agnew®s, ), , Genees, Madame Roger des, – Greener, Richard eodore, Genga, Girolamo, Greenslet, Ferris, n Gerini, Niccolò di Pietro, , , , Gregorovius, Ferdinand, Germany, Bernard Berenson on Grimaldi, Lazzaro, n “Orientalization” of, Gronau, Georg, , n , “Ghazel: ought and Temperament” (poem; Grossi, Carlo, Berenson), , – Grousset, René, Ghirlandaio, Domenico, , , , Guardi, Francesco, , , Giambono, Michele, St. Michael Archangel Guéraut, Robert, n Enthroned ( – ), , , , – Guercino, Giovanni Francesco Barbieri, Gibbon, Edward, , Gide, André, Guernica (Picasso), Ginori, Richard, Guicciardini, Francesco, Giorgei, Alceste, Gulbenkian, Calouste, Giorgione, Giorgio Barabelli da Castelfranco, Gurney, Edmund, , , , , – , , n Gutekunst, Heinrich G. (father), – Gioo di Bondone, , , , , , , Gutekunst, Lena Obach (wife), , , , , , , Giovanni di Paolo, Gutekunst, Oo, and Colnaghi Gallery, Glaenzer, Eugene, London, , –; American market and, Gli Anglo-Americani a Firenze (Fantoni, , , –, – ; background and ), early career, –; Bernard Berenson as Gli indierenti (Moravia), agent for, , , ; Berenson, Mary, and, Glucksmann, Carl, –; British aristocracy, purchases of Gobei, Piero, , , , , n paintings from, –, – ; Carstairs Gobineau, Arthur de, and, n , , ; death of Gutekunst, Goethe, Johann Wolfgang von, , , – , ; Duveen and, , , , –, , – ; rst meeting with Bernard e Golden Urn (periodical), “Altamura,” and Berenson, n , ; Gardner/Bernard Dionites, – , – , – , , –, , Berenson/Gutekunst, triangular rela- –, , –, . See also Altamura tionship between, , , , , , – , Garden Pavilion, Fenway Court –; Great Depression, retirement of
427 Index Gutekunst and World War II, , –; Hendrie, Robert, Grii portrait, contention with Bernard Hendy, Sir Philip, Berenson over aribution of, –, , Hercules Strangling Antaeus (Pollaiuolo), , –; Holbein aair, – , , , ; Herskovits, Melville, , – Old Bond Street oces, ; as Old Master Herodotus, dealer, – ; Pall Mall East oces, , Herrick, Robert, , n , n, ; Partridge Building Herringham, Lady Christiana, oces, – , , ; photograph of, ; Hesse, Hermann, , relationship between Bernard Berenson Heydenreich, Ludwig Heinrich, and Gutekunst, –, –; before and Hildebrand, Adolf von: Clark on, ; in during World War I, – Florence, , , ; forms, theory Gutekunst, Richard (brother), of, , , , – , , ; Lisl von Herzogenberg Playing the Organ (plaster Hadley, Rollin Van N., , cast relief; ), , ; photograph of, Hafez, , ; Das Problem der Form in der bildenden Hahn lawsuit, Kunst ( ), , – , , , ; on Hall, Nicholas, tactile values, , – , , , , , Hals, Franz, , ; Warburg and, , Halsted, Isabel Hopkinson, Hildebrand, Lisl (later Brewster; daughter), Hamilton, Carl, n , , , , Hamilton, George Heard, Hill, Constance Valis, Hand, Learned, Hill, Derek, “Hans Across the Sea” (Punch cartoon, Hillenbrand, Robert, ), , Hinks, Roger, , Hardwick, Elizabeth, n Hiroshige, Andō, Hare, Augustus, n Hispanic Society of America and Archer Harris, John, Huntington, , , , Harvard Monthly, , Histoire de France (Michelet, ), Harvard University: Bernard Berenson®s History of Aesthetic (Bosanquet), n education at, , , – , ; China History of Greek Culture (Burckhardt), Expeditions, – ; “Egg and Plaster” e History of Philosophy (Hegel), course of Edward Forbes, ; Museum Hitchcock, Henry Russell, Course, Fogg Museum, , , – , Hokusai, Katsushika, , – , – , , – , , ; Parker Holbein, Hans, , , , , – , , Traveling Fellowship, rejection of Bernard Holiday, Billie, Berenson®s application for ( ), , , Holmes, Charles, n, – , n; Porter appoin- Holroyd, Charles, ted to research professorship at, ; Holy Family (formerly arib. Maineri), Porter®s art collection at Fogg Museum, Holy Family with Saint John (Mantegna), ; ompson at, – ; Villa I Tai Holy Land (Palestine and Syria), Bernard bequeathed to, , , , , , ; Berenson®s “pilgrimage” to, , , , Warburg®s interest in connection with, , n – ; Yashiro Yukio and, – homosexuality: Clark believed by Bernard Haskell, Francis, Berenson household to be gay, ; Hafez Hazli, William, , love poems, Bernard Berenson®s ama- Head of Ānada (Javanese, eighth–eleventh zement of celebration of men in, ; of century), , , Uhde, Hegel, Georg Wilhelm Friedrich, , , Hope Collection, , – Horne, Herbert, , , , , , , Heimann, Jacob, , Horowitz, Vela, Heinemann, Fritz, , , , “house of life,” , Hemingway, Ernest, Howard, Jeremy, , , Hemingway, Mary, Huizinga, Johan,
428 Index Huntington, Anna Vaughan Hya (second Days (exhibition, ), ; Journeys East: wife), n , , , Isabella Stewart Gardner and Asia (exhi- Huntington, Arabella (mother), , – bition, ), ; Old Masters paintings Huntington, Archer, , – ; art col- at, , ; Palazzo Barbaro, Venice, and, lections of parents of, –; Bernard , –; photographs of, , ; public Berenson®s membership in American mandate of, . See also Altamura Garden Academy of Arts and Leers and, , Pavilion, Fenway Court – ; El Cid translation of, , ; Islamic art and culture, – , – ; aes- correspondence with Berensons, – , theticism and, – , ; architecture, , , , – ; death of ( ), , Islamic, Bernard Berenson®s interest in, ; education and intellectual accom- , – , , ; Armenian miniatu- plishments, , –, , ; rst res, Bernard Berenson®s brief interest in meeting between Berensons and, – , (ca. ), n; collected by Bernard ; Hispanic Society of America and, , Berenson ( – ), , – , , – , , ; marriages of, ; Mayor , ; Damascus, Great Mosque of, , diary and, , n , – , ; pho- – ; dened, – ; education tograph of, ; typewriter given to Mary of Bernard Berenson in Oriental studies Berenson by, ; wealth of, – and, – , ; Greco-Roman and Huntington, Collis P. (biological father/ Byzantine culture, viewed as witness to, stepfather), , –, n , – , ; library at I Tai, Asian Huntington, Ellen Maria (aunt), n and Islamic collection of, – , , Huntington, George, – , – , ; Munich exhibition Huntington, Helen Manchester Gates (rst of Islamic art ( ), , , – , ; wife/cousin), Orientalism and, – , , – , , Huntington, Henry E. (cousin/stepfather), n; Orne translations of Arab poems, n – , ; political views of Bernard Hutchins, Robert Maynard, , Berenson on, n, – ; popularity Huon, Edward, at turn of the century, – ; “thought Hyde, Louis F., n and temperament” reecting duality of Hyman, Isabelle, , , Bernard Berenson®s approach to, , – ; travels of Bernard Berenson in I Tai. See Villa I Tai Islamic world, – , – , , , ibn-Khaldun, – , ; views of Bernard Berenson Ikonologie, Warburg®s concept of, , n in later years, – An Illuminated Life (Ardizzone, ), Israel, Bernard Berenson®s views on, n, impressionism, – , , . See also – specic artists Israëls, Machtelt, , Imru®l Qays, , Italian Art Exhibition, London ( ), In the Palace, or Ladies of the Court (Kong- Italian Journey (Goethe, – ), – zhong tu), n Italian Painters of the Renaissance (Berenson, Innocence (formerly arib. Franceschini, now ), , , , , , , , , School of Guido Reni), , International Conference of , Florence, Italian Pictures of the Renaissance (Berenson), Isabella Stewart Gardner Museum/Fenway , , , Court: aerial photograph ( ), , ; Italy, art export laws in, Asian art collection compared to Villa I Ivins, William M., Jr. (“Billie”), , Tai, ; commemorative elements of, ; “cultural re-enchantment,” total design Jacob Blessing the Sons of Joseph (copy of of Fenway Court as expression of, –, Guercino, before ), , ; design and construction of, –, James, Henry, , , , , , – ; Dionites, “Altamura,” and e Golden James, William, , , , , , – , , Urn as inspiration for, ; Eye of the – , , Beholder (exhibition, ), , ; Gondola James, William, Jr.,
429 Index Janson, Horst W., Kunstreligion, Japanese art. See Asian art Kunstwollen, Jarves collection, Yale University: cassone Kuroda Seiki, Viscount, n panel from, aribution of, , , , Kurz, Isolde, , – , , ; Porter and, , , ; Sirén®s catalog of, , La Farge, John, al-Jazari, , , Labidh, Jewishness of Bernard Berenson, , , , , Lacasse, Natalie, n , , , , , – , Landi, Elisabea, , , Johnson, John G., n , n Landi, Neroccio di Bartolommeo de®, Jolles, André, , Landscape into Art (Clark, ), Jolli, Antonio, Lanham, Charles Rockwell, Joni, Icilio Federico, – , – Laparelli di Lapo, Pirro, Journeys East: Isabella Stewart Gardner and Larciani, Giovanni, Asia (exhibition, Isabella Stewart Gardner Laurati, Giorgio, Museum, ), , Laurencin, Marie, Justi, Carl, n Laurie, Arthur Pillans, , Lazzaroni, Barone Michele, Kahn, Addie (Mrs. Oo H.), Lazzoni, Tommaso, Kahn Collection, Le Corbusier, Charles-Édouard Jeanneret, Kahn, Rodolphe, Leclerc, Charles Victor Emmanuel, Kahnweiler, Daniel-Henry, , Lee, Vernon (Violet Paget): Bernard Kandinsky, Vassily, Berenson on Arabic verse and, ; “Beauty Kann, Rodolphe, and Ugliness” ( ), n , – ; Karageorgevic, Prince Paul and Princess concept of personhood and aesthetics of, Elizabeth, ; on Einfühlung, , ; Gospels of Anarchy, KBW (Kulturwissenschaliche Bibliothek ; Mayor, A. Hya, on Bernard Berenson Warburg), , , , , and, ; in Mayor journal, ; photograph Keats, John, of, ; plagiarism charge against Bernard Kelekian, Dikran, Berenson ( ), , ; tactile values Khayyam, Omar, n and, , n , , , , – , Kiel, Hanna, “legend of the artist,” Kirstein, Lincoln, Lehman, Robert, Kitāb fī ma῾rifat al hiyāl al-handasiyya (Book Lehmann, Rosamond, of Knowledge of Ingenious Mechanical Leland, Charles Godfrey, Devices; al-Jazari, ), , , Leo X (pope), Klee, Paul, – Leonardo da Vinci: Belle Ferronière, ; Klinger, Max, Clark and, , , , ; Donna Laura Knoedler & Co., , n , , –, – , Minghe i, ; Freud®s engagement with, , , ; Mona Lisa, ; Richter®s edition of Kokoschka, Oskar, notes and manuscripts of, , , , n ; Kollwitz, Käthe, tactile values and, ; Warburg on, n, Kōrin, Ogata, , ; woodworm in panel of, Krautheimer, Richard, Leonardo da Vinci (Clark, ), , , Kress, Samuel H., and Kress Collection, , Lessing, Julius, , , n , Lévi-Strauss, Claude, Kristeller, Paul Oskar, Lewis, Katie, Kühnel, Ernst, n , Il libro dellarte (Cennini, late fourteenth kulturwissenschalich (cultural-scientic) century), , , , , , , approach of Warburg to study of art, Libya: Bernard Berenson on Italian cam- , paign in, ; Bernard Berenson®s travels Kulturwissenschaliche Bibliothek Warburg in, , (KBW), , , , , Lichtenstein, Prince of,
430 Index Lippi, Filippino, , , , , “e Madonna of the Future” (James), – Lippi, Fra Filippo, n Madonna of the Pinks (formerly arib. Lippmann, Walter, Raphael), Lisl von Herzogenberg Playing the Organ Madonna with Child (aer Rondinelli), (Hildebrand), , Madonna with Child and the Young St. John the lists compiled by Bernard Berenson: Baptist (Bagnacavallo), Altamura and Dionites, , ; critical Madonna with the Standing Child (Circle of reception and, , , – , ; Gutekunst Bellini), and, , ; publication in , – ; Magnasco, Alessandro, , viewed as distraction from other work, Maineri, Gianfrancesco, Locho, Nicholas, Malaspina monument, n Loeser, Charles, , , n , , , Malatesta, Adeodato, , Lohan Demonstrating the Power of the Mâle, Émile, Buddhist Sutras to Daoists (Zhou Jichang, Malevich, Kazimir, ca. ), , Malinowski, Bronisław, Lombard Architecture (Porter, – ), Mallet, Lady, , n , – Man with a Quilted Sleeve or Portrait of Longhi, Roberto, , , , , , , Girolamo (?) Barbarigo (Titian), formerly – , n , called “Ariosto,” , Looking at Pictures with Bernard Berenson Mandarina (D®Annunzio, ), (Brown, ), Manet, Édouard, , , Lorenzei, Mann, Heinrich, Lorenzo Lo o (Berenson, ), –, Mann, omas, , Loschi, Bernardino, , Mantegna, Andrea, , , , , , Loo, Lorenzo, –, , , , , – Loves, Maeo, Maraini, Dacia, Löwy, Michael, Maraini, Fosco, , Lucretius, De rerum natura, Maramoi, Bosi, Ludwig II of Bavaria, Marai, Carlo, Luther, Martin, Marco del Buono Giamberti, , , lynching, as topic of Dunham®s Southland, Marconi, Rocco, , – Mardrus, J. C., Lyon, David Gordon, Marées, Hans von, , , , , Marghieri, Clotilde, , – , Machiavelli, Niccolò, , Mariano, Elisabea “Nicky”: on Bernard Maclagan, Eric, n Berenson®s sense of Jewishness, n; on Macridy, Teodor, n Clark, , ; correspondence of Bernard Madonna (Gioo), , Berenson and, ; in Dunham leers, , Madonna and Child (Bellini), , ; Foresti correspondence and, , Madonna and Child (Gerini), , , , , ; German uency of, ; Madonna and Child and St. Nicholas of Islamic art and culture, Bernard Berenson®s Tolentino (Loschi), interest in, n , , , nn–, Madonna and Child with Sts. John the Baptist n ; James®s Energy of Men and, ; on and Jerome and Donors (Nelli), loves in Bernard Berenson®s life, , , Madonna and Child with the Infant St. John the ; Mayor, A. Hya, and, , – , Baptist (arib. Sassoferrato), ; Morra and, – , ; Porters Madonna and Child with the Young St. John the and, ; privacy of Bernard Berenson Baptist (arib. Titian), protected by, ; running of I Tai aer Madonna del La e (Landi), death of Mary Berenson by, ; travels Madonna dellOrto (Bellini), with Bernard Berenson, , , , n; Madonna of Bergamo [Madonna Lochis] Warburg, on Bernard Berenson®s visit (Bellini), to, , , ; on Yashiro Yukio®s Madonna of the Eucharist (Boicelli), , , Years of Japanese Art,
431 Index Mariee, Pierre-Jean, Mickleshanski, Judith (mother of Bernard Marini, Remigio, Berenson), Marius the Epicurean (Pater, ), – , Millais, John Evere, Marlowe, Christopher, Milton, John, , , Marr, omas, Mnemosyne Atlas (Warburg, s), , Marriage of St. Catherine (Bicci di Lorenzo), Moceo, Girolamo, modern art: avant-garde, Florence and emer- Martin, Fredrik Robert, gence of, , – , , – ; Bernard Mary, Queen of Scots, , Berenson®s aitudes toward, , , , , Il Marzocco (periodical), , , , , – ; cubism, , – , Masaccio, , , – ; futurists, ; impressionism, Masekela Language (ballet; Ailey), – , , (See also specic artists) Masolino da Panicale, , , modernism/modernity and Florence, Mason Perkins, Frederick, , , , , ca. , , , – , , – , , , , – Massignon, Louis, n , , Mohammed, Bernard Berenson on, , Master of Barberino, n , Master of Virgil®s Aeneid, , – , Moments of Vision (Clark, ), , e Materials and Techniques of Medieval Mona Lisa (da Vinci), Paintings (ompson, ), – , Monaco, Lorenzo, Matisse, Henri, , , , , , Mond, Ludwig, n, , May Troubles, Florence ( ), , Monet, Claude, Mayer, Gustavus, , , , – , , Monte Oliveto Maggiore, , –, Mayer, Leo Avy, n Montefeltro, Federico da, Count of Urbino, Mayor, A. Hya, , n , – , , n Mazaro, Stanley, Montesquieu, Count Robert de, McCauley, Anne, Monument to General Manedo Fanti, model McKay, William, , – , , , , n , of (Trubetzkoy), , Moore, Henry, , McKayle, Donald, Morassi, Antonio, Mead, Margaret, Moravia, Alberto, n, , – Meder, Joseph, Moravia, Elsa, Medici family, , Morelli, Giovanni: anti-Jewish sentiments Medici, Lorenzo de® (Lorenzo the Magni- of, n ; Bernard Berenson and, , – , cent), , , , ; on Bode, ; Foresti, Carlo Medici, Piero de®, Alberto, and, ; Richter and, , – , Medieval Architecture (Porter, ), n ; studies of scientic connois- medieval period, revival of interest in, , seurship of, ; Warburg and, , , , Meeks, Evere, , ; Yashiro Yukio on, Meissonier, Jean-Louis-Ernest, Morgan, J. P., , , , , , Melius, Jeremy, Morisot, Berthe, Mellon, Andrew W., – Moroni, Giovan Baista, , , Memling, Hans, Morra di Lavriano, Count Roberto (father), Menafoglio, Marchese, Merrield, Mary Philadelphia, Morra di Lavriano, Count Umberto, , Merrill, James, – ; character and personality of, Merry del Val, Rafael (cardinal), –, , ; Clark and, , n; Métraux, Alfred, Conversations with Berenson ( ), , ; Metsu, Gabriël, family background, education, and early Meyer-Riefstahl, Rudolf, , , , n, life, –, ; fascism, opposition to, , n , , , –, , , n ; on Frizzoni Michelangelo, , , , , , and Bernard Berenson, ; Moravia and, Michelet, Jules, n, , – ; photographs of, ,
432 Index , ; relationship with Berensons, Obach family, , , –, –; tactile values and, ; Oberlin cassone (Apollonio di Giovanni), at Villa I Tai, –; Villa Morra, Obrist, Hermann, , , Metelliano, Cortona, , , , Oner, Richard, , , , Mortimer, Raymond, Okakura Kakuzo, , , , Mosaddeq, Mohammad, e Old Man and the Sea (Hemingway, Mostyn-Owen, William, – , , – , ), , n , n , e Old Masters (play; Gray), Mu῾allaqāt, , Olmsted, Frederick Law, – , Muir, William, Olympia (Manet), , Munich exhibition of Islamic art ( ), , , One ousand and One Nights, Bernard – , , Berenson®s fondness for, , n, Müntz, Eugène, One Years Reading for Fun (Berenson, ), Museum Course, Fogg Museum, Harvard, , , – , – , , – , , Order of the White Rose, museum ethics, Orientalism, – , , – , , n Museum of Fine Arts, Boston, Original Treatises on the Arts of Painting Mussolini, Benito, (Merrield, ), Muther, Richard, Origo, Iris, – , Muzzioli, Giovanni, – , Orleans Collection, Mystic Marriage of St. Catherine (Zaganelli), Orne, John, Jr., – , Orsi, Lelio, Mystic Marriage of St. Francis (Sassea), Orsini, Prince, n otium, Oxford Movement, NAACP (National Association for the Oxford University, , , , , , Advancement of Colored People), NACF (National Art Collections Fund), Pagan Sacrice (panel, arib. Roberti/School Naples Manuscript, published as De arte illumi- of Mantegna/Bellini), – nandi (Naples, Biblioteca Nazionale), Pagan Sacrice (pendant at Saltwood Castle), Nash, Paul, Nasser, Gamal Abdel, Paget, Violet. See Lee, Vernon National Art Collections Fund (NACF), Paine, Robert Treat, National Association for the Advancement of Palazzo Barbaro, Venice, , – Colored People (NAACP), Palestine and Syria, Bernard Berenson®s Nativity (Loschi), “pilgrimage” to, , , , n Nazism, Bernard Berenson on, – Palladio, Nelli, Oaviano, Pallas and the Centaur (Boicelli), Nelson, Jonathan K., , Palma il Giovane, Jacopo, “e New Art Criticism,” Palmezzano, Marco, New Deal, Pancrazi, Pietro, , New eory of Vision (Berkeley, ), n Panofsky, Erwin, , Newhall, Beaumont, Panciatichi, Marchese, Nietzsche, Friedrich Wilhelm, , , – Papafava, Francesco, and Papafava family, , , , , , n , Nivedita, Sister, Margaret Elizabeth Noble, Parker Traveling Fellowship application, Nöldeke, eodor, rejection of ( ), , , n, – , Norfolk, Duke of, , n North Italian Painters (Berenson, ), Partridge, Ethel (later Mairet), n , n, n , passatism, Norton, Charles Eliot, , , , , , Passerin d®Entrèves, Alessandro, , , – , – , , , – Passerini, Count Lorenzo (“Renzo”), n , e Nude (Clark, ), , ,
433 Index Passerini, Lyndall, education, and career, – , ; Pater, Walter: Bernard Berenson inuen- Beyond Architecture ( ), ; books sent ced by, , , – , , , , , to Bernard Berenson by, n , – ; , ; Bernard Berenson unable to “Burgundian Heresy” of, – ; e gain entrance to Oxford class of, ; on Construction of Lombard and Gothic Vaults Boicelli, ; Clark inuenced by, , ; ( ), ; critical approach to intellectual Dionites, “Altamura,” and e Golden Urn, biography of, need for, – ; death of ; on Florence, , ; on Galton, ; ( ), , n ; rst meeting between Gardner and, , ; Marius the Epicurean Bernard Berenson and ( ), – ; ( ), – , ; Norton on, ; Porter intellectual cross-fertilization between inuenced by, ; e Renaissance: Studies Bernard Berenson and, – , ; in Art and Poetry ( ), , ; Richter and, Lombard Architecture ( – ), n , ; Smith, Logan Pearsall, inuenced by, – ; Medieval Architecture ( ), Patridge, Bernard, “Hans Across the Sea” ; as medievalist, – , – , , (Punch cartoon, ), , ; overlooked connections to Bernard Payne, John, Berenson, – , – ; photographs Pelham-Clinton-Hope, Lord, – of, , , ; Romanesque Sculpture of Perowne, Stewart, the Pilgrimage Roads ( ), – , – , Perugino, Pietro, – , – ; Spanish Romanesque Pesaro altarpiece, and pilgrimage practices, Bernard Pesellino, Francesco, Berenson inspiring turn to, – ; Philip II of Spain, – , travels with Bernard Berenson, , e Philosopher (Circle of Ribera), – , ; Villa I Tai and, – , photographs, scholarly use of, , – , – , ; war-damaged French , medieval churches, study of, , , Il Piacere (D®Annunzio, ), – – ; Warburg and, , , Picasso, Pablo, , , – Porter, Lucy Kingsley (wife), , , Piemontesi, Angelo, – , , , – , , , Piero della Francesca, , , , , , , n , , Portrait of a Friar (arib. Caroto), Piero della Francesca (Clark, ), , Portrait of a Gentleman (Moroni), Pietà (Raphael), , Portrait of a Lady (arib. Piero della Pietro Leopoldo (archduke), Francesca), Pignai, Terisio, Portrait of a Young Artist (School of Piloty, Karl eodor von, Rembrandt), n Piombo, Sebastiano del, Portrait of a Young Man (Giustiniani Portrait; Piper, John, Giorgione), Pissarro, Camille, Portrait of Alfonso dEste (arib. Titian), Pitati, Bonifazio de®, Portrait of Anna Vaughan Hya (Mrs. Archer Pi ure italiane in America (Venturi, ), Huntington) (Allen), Placci, Carlo, , n , n , , , Portrait of Aretino (Titian), , plagiarism charge by Lee against Bernard Portrait of Ciro Meno i (Malatesta), , Berenson ( ), , Portrait of Collis P. Huntington (Shaw), Planiscig, Leo, Portrait of Dama (formerly arib. Veronese, Platonism, , now Circle of Paris Bordone), , – Pla, Dan Fellows, n Portrait of Edward VI (Holbein), Pole-Carew Holbein scandal, – Portrait of Girolamo (?) Barbarigo or Man with Pollaiuolo, Antonio, , , a Quilted Sleeve (Titian), formerly called Pomare, Eleo, “Ariosto,” , Pomian, Krzysztof, Portrait of Hendrickje Stoels (Rembrandt), Pope-Hennessy, Sir John, n , Porter, Arthur Kingsley, – , – ; Portrait of Isabella Stewart Gardner (Sargent), art collection of, , ; background,
434 Index Portrait of Laura Dianti (arib. Sebastiano del Reinach, Salomon, Piombo, aer Titian), Rembrandt and the Italian Renaissance (Clark, Portrait of the Doge, Andrea Gri i (Catena, ), formerly arib. Titian), –, , – Rembrandt van Rijn: Aristotle with a Bust Portrait of the Earl of Arundel (Rubens), of Homer, ; Bernard Berenson on, Portrait of the Family of Adeodato Malatesta ; Clark and, , ; Gutekunst and (Malatesta), Colnaghi Gallery, n , , , , , Post, George B., , , , ; Huntington, Arabella, and, postage stamps, Warburg®s presentation on ; Portrait of a Young Artist (School of ( ), , , Rembrandt), n ; Portrait of Hendrickje Pound, Ezra, Stoels, ; Preacher Anslo and His Wife, Power of Sound (Gurney, ), ; Self-Portrait, , ; Uhde on, Praeterita (Ruskin), Renaissance, as historiographic concept, Pra, John (husband of Katherine Dunham), – , e Renaissance: Studies in Art and Poetry Pra, Marie-Christine Dunham, (Pater, ), , Pre-Raphaelites, , , Renan, Ernest, Preacher Anslo and His Wife (Rembrandt), Reni, Guido, Preti, Maia, Renoir, Pierre-Auguste, , Previtali, Andrea, , Reperusals and Re-Collections (Logan Pearsall primitivism, – , Smith, ), n Primus, Pearl, Revenge of Procne (aer Veronese), e Principles of Art (Collingwood, ), Ricci, carteggio in Biblioteca Classense, Principles of Psychology (James, ), – , Ravenna, , n, Ricci, Corrado, , , , , , Das Problem der Form in der bildenden Kunst Richardson, Jonathan, (Hildebrand, ), , – , , , Richter, Jean Paul, , – ; anti-Jewish Prophet (Circle of Ribera), sentiments of, n ; background and Proust, Marcel, career, – ; as connoisseur, – , ; Puccio di Simone, n Gutekunst and Bernard Berenson, mee- Punt e Mes, n ting between, , ; Leonardo da Vinci®s Purple Beeches (Matisse), notes and manuscripts, as editor of, , , Puvis de Chavannes, Pierre, , , n ; Mond, Ludwig, and, n, , ; Morelli and, , – , n ; photo- Queen of the Air (Ruskin), graph of, ; relationship with Bernard Berenson, – ; St. Michael Archangel race: Bernard Berenson®s feelings about, Enthroned (Giambono) and, , , , n ; social boundaries imposed by, , – ; at San Felice Circeo, n; silence , , n , –. See also Dunham, of Bernard Berenson regarding, , – Katherine; Greene, Belle da Costa Riegl, Alois, , , , Radclie-Brown, Alfred, Rilke, Rainer Maria, , , , , Rainbow ‘Round My Shoulder (ballet; Rinascimento Americano (Troa, ), MacKayle), Road of the Phoebe Snow (ballet; Beay), Ranieri, Guidagnolo di, , , n Road to Calvary (arib. Roberti), Raphael, , , , , , , , Roberti, Ercole de®, , , Al-Rasāil (“Treatises,” known as Anthology; Rocke, Michael, Prince Baysunghur, ), , , , Rodin, Auguste, , – Roeck, Bernard, – , , Redeld, Robert, , , Rokeby Venus (Velázquez), Redon, Odilon, Romanesque Sculpture of the Pilgrimage Roads Redslob, Edwin, n , n (Porter, ), – , – , – , Reformation, Hegel®s theory regarding, – – Romanino,
435 Index romanticism-as-worldview, , , , St. Francis and the Wolf of Gublio, Rondinelli, Niccolò, St. Francis in Glory (Sassea), , A Room with a View (Forster, ), St. Francis in the Desert (Bellini), – Rorimer, James, St. Jerome (arib. Biagio d®Antonio), – Roscoe, William, Sts. John the Baptist and Ma hew (Bicci di Rosenberg, Léonce Alexandre, , n Lorenzo), – , Ross, Denman, , , , , – n St. Luke (Pierpont Morgan Library), , Ross, Janet, n St. Mark (ompson), , Rossei, Dante Gabriel, St. Michael Archangel Enthroned (Giambono), Rossi, Lelio, , , , – Rostovtze, Michael, St. Peter and Saint Paul (Lazzoni), Rousseau, Henri, – , , , , St. Peter Martyr, St. Augustine (?), St. John the Rubbiani, Alfonso, Baptist, and St. Stephen (Carpaccio), Rubens, Peter Paul, St. Sebastian (arib. Signorelli/Genga), Rubin, Patricia, , Salting, George, e Rudiments of Connoisseurship (Berenson, Saltwood Castle, , , ), , , Saltzman, Cynthia, , , n, n , Runo family, n, Rumour and Reection (Berenson, ), Salvemini, Fernande, Runge, Philipp Oo, Salvemini, Gaetano, , Rural Scene (Pissarro), Sammarini, Achille, Ruskin, John: Bernard Berenson inuenced Samson Destroying the Temple (Jolli), by, , , , – , ; Clark inuenced Samuels, Ernest, –, , , n , n, by, , , , – ; Dionites, “Altamura,” n , , and e Golden Urn, , ; Florence, San Francesco, Arezzo, Piero della ca. , and, , , , , , , , Francesca®s frescoes in, ; Foresti, Pietro, and, ; Gutekunst and, San Giobbe altarpiece, ; Porter inuenced by, ; Praeterita, San Pietro outside Spoleto, facade of, , ; Queen of the Air, ; on technical Sandro Bo icelli (Yashiro Yukio, ), , aspects of art, n; Warburg and, – , Russell, Bertrand, Sano di Pietro, Russell, John, Sargent, John Singer, , n, – Sarre, Friedrich, , , , , n Sachs, Paul, , – ; as art collector, Sassea: Asian art, Bernard Berenson®s inte- ; Asian art and, ; background, rest in, and Borgo San Sepolcro altarpiece education, and career, ; books of of, – , , , , , , n , Bernard Berenson®s used by, – ; ; Bernard Berenson®s study of, n ; Clark and, ; connoisseurship, tea- Clark to Bernard Berenson on panels ching of, – ; correspondence with National Gallery intended to buy, – ; Bernard Berenson, – , ; Museum Mystic Marriage of St. Francis, n ; Course, Fogg Museum, Harvard, , , St. Francis in Glory, , – , – , , – , , ; Sassoferrato, Giovanni Baista Salvi da, photographs of, , ; similarities to Sassoon, Lady, and dierences from Bernard Berenson, Satsuma ware, – , – ; twelh-century art, Bernard Satyrs and Marine Deities with Musical Berenson®s interest in, ; Walker and, Instruments (Circle of Mantegna), – – , ; Warburg and, , Savonarola (drama; Uhde), Sacred and Profane Love (Titian), Saxl, Fritz, , e Sacrice of Abraham (carved capital from Sayre, Robert, abbey church of Cluny), , Scala, Bartolomeo, Said, Edward, n Scarsellino (Ippolito Scarsella), St. Catherine of Alexandria (Vivarini), Schapiro, Meyer, –, , Sts. Filippo Neri and Joseph (Loves), Schedula (eophilus), , ,
436 Index Schi, Jacob H., Southland (ballet; Dunham), , –, , Schmarsow, August, – Schongauer, Martin, Spain, Bernard Berenson®s travels in, Schopenhauer, Arthur, , , Spätrömische Kunst-Industrie (Riegl), Schubring, Paul, Spencer, Stanley, Sciltian, Gregorio, – Speranzeva, Ludmilla, Sco, Henry, Spinelli, Alessandro Giuseppe, Sco, Mary NcNeill, Sprenger, Aloys, Sears, Sarah Choate, Sprigge, Sylvia, , , Sears, Willard T., , , , , n , stacco, Secrest, Meryle, , n, , , n, , Stark, Freya, Secretum Philosophorum, e Statue e and the Background (Brewster, Seidel, Linda, n –), Self-Portrait (Rembrandt), , Stechow, Wolfgang, Self-Portrait in His Studio (Crespi), Stefano da Verona, Self-Portrait with Donors (Walker), Stein, Aurel, Seligman, Edwin R., Stein, Leo and Gertrude, , Seligmann, Arnold, , Stimilli, David, n Seljuk architecture, Stormy Weather (lm, ), Semper, Hans, , , Story of Damon, four pastoral scenes Senghor, Léopold, (Previtali), – , n Serbia, Bernard Berenson®s travels in, Strange Fruit (song), – Serristori, Countess Hortense, , strappo, , Seurat, Georges, Strauss Madonna (Jacopo Bellini), – Severini, Gino, Strehlke, Carl Brandon, , – , , , Seybold, Dietrich, , , n , Strozzi, Carlo, Shapley, Fern Rusk, n , , Suida, William, Shaw, James Byam, , n, , Sutherland, Graham Vivian, Shaw, Stephen William, Suon, Denys, – n Sicily, Bernard Berenson in, Swarzenski, Georg, Signorelli, Luca, Symonds, John Addington, Simonds, Edith, Syria and Palestine, Bernard Berenson®s Simpson, Colin, n “pilgrimage” to, , , , n Simpson, Joseph, Simpson, Mariana Shreve, – Tacitus, Sirén, Osvald, – , , tactile values, – , – ; Asian art and, Siro, Prince Giovanni, , ; Bernard Berenson®s discovery Sismondi, Simonde de, of, – , , – ; Brewster and, -Odd Provinces (Hiroshige), – , , ; in Florentine Painters of Sketch for a Self-Portrait (Berenson, ), , the Renaissance (Berenson, ), , , –, , – , – , , n , , , , ; Hildebrand and, , , n , n – , , , , , , ; James, Smith, Alys, William, and, , , , , – , Smith, Logan Pearsall, , , – , , , , – , , ; Lee and, , n , –, –, , , , , – , ; Morra and, Snake Charmer (Rousseau), ; Nietzsche®s inuence on Bernard Soissons Cathedral, Berenson and, , , – , ; “Something Has Turned Up” (Westminster Porter on, ; public reception of con- Gaze e cartoon, ), , cept of, Sontag, Susan, , Taine, Hippolyte, Soucek, Priscilla, Tale of Genjii, Southern Landscape (ballet; Beay), Taliesin, –
437 Index Talmud, Bernard Berenson®s references to, ; Foresti collections and, , , ; n , Gutekunst and Colnaghi Gallery, , , Taylor, Alicia Cameron, n , – , ; Huntington, Arabella, and, Taylor, Francis Henry, ; Madonna and Child with the Young technical aspects of art: Bernard Berenson®s St. John the Baptist (arib. Titian), ; lack of interest in, , , – ; Il libro portrait acquired by brother of Paul Sachs dellarte (Cennini, late fourteenth cen- as, ; Portrait of Alfonso dEste (arib. tury), , ; in Museum Course, Fogg Titian), ; Portrait of Aretino, , ; Museum, Harvard, ; wall paintings, Portrait of Laura Dianti (arib. Sebastiano removing, , , – . See also del Piombo, aer Titian), ; Portrait of ompson, Daniel Varney, Jr. the Doge, Andrea Gri i (Catena, formerly ter Borch, Gerard, arib. Titian), –, , –; Sacred Terk, Sonja, and Profane Love, ; Uhde®s concept of eocritus, modernity and, ; Venus of Urbino, eophilus, , , Tobias and the Archangel Raphael (arib. e eories of Anarchy and of Law (Brewster, Biagio d®Antonio), – ), Toesca, Pietro, , , , , eosophy, n Tolstoy, Serge, ode, Henry, Tomb gure of kneeling woman (Chinese, Han ompson, Daniel Varney, Jr., – , – ; dynasty, BC–AD ), , , on art appreciation, , ; career of, Tornabuoni Chapel, Santa Maria Novella, – , , – , ; Cennini and, Florence, , , , , , , ; correspon- A Touch of Innocence (Dunham, ), dence with Bernard Berenson, – , Tournament in Piazza S. Croce (cassone panel – ; De arte illuminandi ( ), ; painting, arib. Apollonio di Giovanni death of, ; education of, – ; Hahn and workshop), , , , – , , lawsuit, involvement in, ; lack of inte- rest of Bernard Berenson in technical Towsley, Prentice, , aspects of art and, , – , – , Toy, Crawford Howell, , – , ; list of publications of, – ; e nn – Materials and Techniques of Medieval Tragedy of Lucretia (Boicelli), , –, Paintings ( ), Bernard Berenson , foreword for, – , ; meetings Tremont Entrance to Olmsted®s Back Bay between Bernard Berenson and, – , Fens and Altamura Garden Pavilion, – , ; photographs of, , , Fenway Court, – , , , , ; relationship between Bernard Trevelyan, Sir George, Berenson and, , , – , ; Trevor-Roper, Hugh, , St. Mark, , , ; transcriptions and Trinity (Boicelli), translations of medieval technical docu- Triumph of Death, mentation by, , , – , – Triumph of Neptune (Circle of Mantegna), ompson, Grace, Trivulzio, Prince, , , nn – orndike, Paul and Rachel, –, Tropic Death (ballet; Dunham), ree Essays in Method (Berenson, ), , Troa, Antonella, , n , Troi (dealer), us Spoke Zarathustra (Nietzsche), , Trubetzkoy, Prince Paolo, Tietze, Hans, , Tunisia, Bernard Berenson in, Timurid dynasty, Turbyll, Mark, Tintoreo, Domenico, , , Turkey: Bernard Berenson®s consideration Tiryakian, Edward, of role in World War II, ; Bernard Tissot, James, Berenson®s travels in, , , n , Titian: “Ariosto,” now called Man with a – , ; Seljuk architecture and, Quilted Sleeve or Portrait of Girolamo (?) Turkmen dynasty Persian miniature in Barbarigo, , ; Europa, , , – , , Berenson Islamic collection,
438 Index Years of Japanese Art (Yashiro Yukio, (October ), ; Clark at, – , , ), , , , ; Clark®s Saltwood Castle and, , ; Dunham at, , , , Über das optische Formgefühl (Vischer, ), – , , , ; rst conceived of as – center for scholarly research, – ; in Ugo da Carpi, Florentine literary and artistic circle, ; Uhde, Wilhelm, – , , – foundation document for, ; Gardner®s Usener, Hermann, visit to, ; Huntington friendship and Utili, Giovan Baista, nancing of, – , ; “Japanese” Uzbek dynasty Persian miniature in landscape of, , ; Mayor diary on, Berenson Islamic collection, , – , ; Morra at, –; myth of Florence and, ; performance of Gray®s Vahshi, Mulla, e Old Masters at ( ), ; Porter and, van der Weyden, Rogier, , , – , – , ; as run by Mariano van Dyck, Anthony, , , , aer death of Mary Berenson, ; van Gogh, eo, Warburg, Felix, at, ; Warburg®s KFW Van Honthorst, Gerard, compared, Van Marle, Raimond, Villani, Giovanni, Vasari, Giorgio, , Villard de Honnecourt, Vavasour Elder, Irene, , Vincioni, Ivo, Velázquez, Diego, , , , Virgil, Aeneid, , , , e Venetian Painters of the Renaissance Virgil Master, , – , (Berenson, ), , , , , , Virgin and Child with Saints Jerome and – , , n Bernardino (Sano di Pietro), n Veneziano, Domenico, , , la Virgine col bambino benedicente loerta Veneziano, Lorenzo, dun angelo (Boicelli), n Venturi, Adolfo, , , , , , , , Vischer, Robert, , – , , – Visconti, Luchino, Venturi, Lionello, , , , Visitation (Crespi), – Venus of Urbino (Titian), Vivarini, Antonio, Venus Rising om the Sea (Boicelli), Vlaminck, Maurice de, , Vermeer, Johannes, , , Volkelt, Johannes, n Verona, Bernard Berenson and Richter®s Vollard, Ambroise, , interest in painters of, Volpe, Carlo, Veronese, Paolo, , , – , Volpi, Elia, Vertova, Luisa, , – n Victory of Pleasure over Virtue (Palma Waagen, Gustav Friedrich, il Giovane), Wadsworth, Mary, n Vidal-Nacquet, Alain, n Wagner, Richard, Vieusseux, Gabineo, Waldman, Louis, , Vignier, Charles, Waley, Arthur, , Villa I Tai: archives at, , ; art collection al-Walid (caliph), at, , , ; Asian and Islamic books in Walker, John, , , , – , library at, – ; Asian art and inte- wall paintings, techniques for removing, , rior decoration of, , –, – ; , – Bernard Berenson and Mostyn-Owen in Walters, Henry, , garden of ( ), ; Bernard Berenson Warburg, Aby, – , – ; aestheticism, in hall of ( ), ; Bernard Berenson rejection of, , , , ; approach in study at ( and ), , ; as to study of art compared to Bernard Bernard Berenson®s chief legacy, ; Berenson®s, – , – , – , bequeathed to Harvard, , , , , – ; Bibliotheca Hertziana lecture , ; Berensons® move into, – ; ( ), n ; cassone panel from Jarves “Bernard Berenson at Fiy” conference collection, Yale University, aribution of,
439 Index , , , – , , ; Clark and, Whistler, James McNeill, , , , , , , – , ; on Florence, , ; White, Hayden, “Fragment of the Nymph” ( ), – ; Wideners and Widener Collection, , , , meeting with Bernard Berenson at KBW, , Hamburg ( ), , – , , , , Wilde, Johannes, , , – ; Mnemosyne Atlas, , ; Wildenstein, Georges, , personal opinion of Bernard Berenson, e Will to Believe (James, ), , , , , ; photograph of, ; pho- Willys Madonna variation (arib. Marconi, tographs, use of, ; Porter and, , , aer Bellini), ; postage stamp presentation of ( ), Wise, Louise Waterman, , , ; publishing inhibitions of, Wi, Sir Robert, , – n ; reasons for rapprochement Wolfe, Catharine Lorillard, with Bernard Berenson, – ; Uhde Wöl¤in, Heinrich, n, n, and, , Woman Weighing Gold (Vermeer), , Warburg, Felix (brother), , n , Wordsworth, William, – e World as Will and Representation Warburg, Frieda (wife of Felix), (Schopenhauer), Warburg, Mary (wife), n Wright, Frank Lloyd, – Warburg, Nina (sister), n Wright, John K., Warburg, Paul (brother), n, Wrightsman, Charles and Jayne, Warner, Langdon, – , Warner, Robert, Yale University. See Jarves collection, Yale Warren, Ned, n University Warren, Samuel, Yashiro Yukio, , n , – , Warren, Susan Cornelia, , – Yazdi, Sharaf al-din, Waves at Matsushima (Kōrin, eighteenth e Youth of Parnassus and Other Stories of century), , Oxford Life (Logan Pearsall Smith, ), Wedepohl, Claudia, , , Wei-chi®ih I-Seng, Zafar nāme (Book of Victory; Sharaf al-din Weil, Gustav, Yazdi, ), Weltknoten, Zaganelli, Francesco, , Wemyss, Earl of, Zambrano, Patrizia, Wendell, Barre, , Zeri, Federico, , , , , Wertheimer, Asher, Zhou Jichang, West-Östlicher Diwan (Goethe), Zimmerman, T. Price, Westminster, Duke of, , Zionism, n, Wharton, Edith, – , , , , Zorzi, Rosella,
440 Index