Cosimo de’Medici was a patron of art and architecture in Renaissance Florence. He is crucial to the study of Art History because his artistic commissions served as propaganda to further Medici rule. As a figure who deeply appreciated faith and the arts, since he came into the Medici seat of power, Cosimo fostered a deep friendship with several artists. In this project, Donatello, Michelozzo, and Fra Angelico are examined. Several of his commissions concerned faith and religion, but also exemplified Medici rule; Donatello’s David, a symbol of Christian virtues and Florence itself sat where passerby could clearly see it. San Marco, built by Michelozzo and decorated with frescoes by Fra Angelico, laid close to Medici buildings, as well as created a sense of personal community and learning. Cosimo’s major commissions subconsciously created a sense of trust in the Medici in the Florentine people.
J. Paul Getty was important to the development of the museum as an education place through supporting the preservation of European art along with providing funds for the Getty Museum to expand and provide a platform for the education and research of art and art history. By making his millions in the oil business, Getty was able to collect and share artworks from around the world in the Getty Museum. After his death, the money he left the Museum in his will went to educational and research institutes including the Getty Research Institute, Getty Conservation Institute, Information Institute, Education Institute, and the Getty Foundation.
Philip II ascended the throne of Spain in 1556 becoming the most powerful man in the world at the age of 29. Though following the successful reign of his father, Charles V, Philip inherited a country in the throes of political strife as the Catholic Church called for reform and the condemnation of the Protestant religion. Despite his harsh policies aimed at the Protestant faith, Philip showed generosity towards the arts. The projects and works produced during Philip’s reign are not only evidence of a passion for painting and architecture but of a diverse and inclusive collection. Philip’s unprecedented relationship with the arts forever altered the state of art in Spain, allowing artistic creativity to flourish and influence future generations of artists.
For Paul Mellon, it was never about the money. As a child who grew up around masterpieces, their presence comforted him in his adult life. Mellon used that comfort to foster an intuition that led him to select which pieces of art to buy. Over his 91 years, he amassed a collection that included thousands of paintings, prints, sketches, and sculptures. The collection, though, was destined for a bigger audience than he and his wife on their Virginia farm. Now, the Mellon name is connected to art residing in institutions along the eastern seaboard and across the Atlantic.
Arthur M. Sackler was a New York medical researcher whose collection and patronage was pivotal in the introduction of non-western art to American museums. He endowed galleries at both Princeton and Harvard, was a major contributor to the development of the MoMa, and provided the founding endowment of the Smithsonian gallery that holds his name. In addition, he endowed the Arthur M. Sackler Foundation, which funds academic journals and allows for his private collection to be exhibited in venues throughout the world.
Paul Rosenberg (1881-1959), was a key supporter in the modern arts and developed close bonds with his artists, museums and private clients. He had the fortunate upbringing of having an antiques dealer as a father who was supportive and gave the necessary tools to become an art dealer. His collection began with traditional 19th century art, but later on towards the World Wars became a supporter of the Modern Arts, focusing his collection on Impressionism, Post-Impressionism, and Cubism. He is best known for his role in promoting early modern painters in France and facilitating the migration of French art to the United States during the first half of the 19th century. Despite losing some of his business in New York and reclaimed most of his lost work after the war. He played an important role in the early beginning of several museums such as The Museum of Modern Art, Art institute of Chicago, and The Philadelphia Museum of Art.
Lillian Thomas Pratt’s Russian Decorative Arts collection houses over a five hundred objects, the majority belonging to the craftsman Peter Carl Faberge. Mrs. Pratt’s collection memorializes not only the fine craftsmanship of an amazing artist but also an artistic period and Imperial culture that now form part of history. The collection contains a variety of objects. These are divided into eight categories: carving of animals, Imperial Easter eggs and miniatures, flowers, picture frames containing photographs of the Imperial family, handles for umbrellas and canes, icons, jewelry, and miscellaneous items. The highlight of the Pratt collection is the five Imperial Easter eggs purchased between 1933 and 1945. Mrs. Pratt donated her collection to the Virginia Museum of Fine Arts in 1947, the same year of her death. Her eye for fine objects allows the modern person to connect to a time of Imperial power and culture through the works from the house of Faberge.
Dr. Albert C. Barnes was raised in poverty but his ultimate entry into the field of chemistry led him to develop a compound for eye infections which he named Argyrol. The success of the drug gained him great wealth which he used to pursue his interests in art. He started purchasing art in 1911 and eventually amassed one of the most coveted collections of French and American early modern paintings. He had unique ideas about how art should be viewed and appreciated which inspired him to establish the Barnes Foundation near his home in Merion, PA. The foundation was a private institution dedicated to art education, not a museum. But decades after his death and out of financial necessity, the foundation was moved to its current location in Philadelphia. The education programs continue and the public now has access to this unrivaled collection. The legacy of Albert Barnes will continue for generations to come.
Paul Durand-Ruel was born in Paris in 1831, and he took over his family business from his father’s art gallery. He was revolutionist in the art and art dealing world, his legacies were discovering the Impressionist art, starting with present solo gallery shows by a single individual artist, which is now a main event in the art-world, and introducing the Impressionist art to the United Sates. After he took over took over his father’s the Gallerie Duarn-Ruel in 1846, he used his connection to expand his network to the artists, and visited their studio frequently, and this connection introduced him the Impressionist. During Franco-Prussian War, he moved to London and he rented a studio and introduced French paintings and it became a gathering place for the French painters were escaping the war, such as Monet, Manet, Renoir, other Impressionists. According to Monet, ” Without Paul Durand-Ruel, we should have died to hunger in London.” Durand-Ruel supported these New Painters financially and introduced their paintings not only Europe, but also the United States where it led to the great success to both the artists and Paul Duran-Ruel himself.
The action of collecting art often falls into the realm of the exceedingly wealthy. The art market makes notorious profit from people who can drop large quantities of money to fill up their ostentatious mansions. It is also for collectors who strategically enter the art market and are aware that their purchases could become vital assets to their financial input. We rarely hear about people who collect art for their entire adult lives, only to give it away, asking for no compensation in exchange. Then, there are some circumstances and some people that are atypical. Dorothy and Herbert Vogel (Herbert-
1922-2012, Dorothy-1935- present) are two anomalies that devoted themselves to what contradicted this normality of art collecting. Together, they amassed an about 4000 piece collection of contemporary (mostly minimal and conceptual) art. They usually collected directly from artists and formed relationships through going to several exhibitions and museums. By 1968, other artists and collectors were asking to see works in their small New York apartment. Richard Tuttle, Sol LeWitt, Jeanne-Claude and Christo are the three main artists who the Vogel’s made a deep connection with; nonetheless, the work of many of the artists within their collection is still generally under appreciated. Recognition, however, was not a concern for Herb or Dorothy. Their interest was in the art, not in the public reputation of the artist. After collecting for their entire marriage, they gave away all their work, free of charge to the National Gallery in Washington, D.C. In a project called the “50 Works of Art for the 50 States,” they also gave three or four works to different museums and institutions all over the country, further emphasizing that any person from any background or social class can appreciate the art.
Collecting art usually is done by the exceedingly wealthy. However, there are some circumstances and some people that contradict this normality. Herbert and Dorothy Vogel are two anomalies that devoted themselves to collecting solely because they loved art. They were two state employees, living on less than fifty thousand dollars a year, and they amassed a collection of around 4000 works of contemporary (mostly minimal and conceptual art). At the end of their collecting career they gave all of their works to the National Gallery. Their legacy has to do with persistence and building relationships as collectors but also about public access.
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Cosimo de’Medici was a patron of art and architecture in Renaissance Florence. He is crucial to the study of Art History because his artistic commissions served as propaganda to further Medici rule. As a figure who deeply appreciated faith and the arts, since he came into the Medici seat of power, Cosimo fostered a deep friendship with several artists. In this project, Donatello, Michelozzo, and Fra Angelico are examined. Several of his commissions concerned faith and religion, but also exemplified Medici rule; Donatello’s David, a symbol of Christian virtues and Florence itself sat where passerby could clearly see it. San Marco, built by Michelozzo and decorated with frescoes by Fra Angelico, laid close to Medici buildings, as well as created a sense of personal community and learning. Cosimo’s major commissions subconsciously created a sense of trust in the Medici in the Florentine people.
J. Paul Getty was important to the development of the museum as an education place through supporting the preservation of European art along with providing funds for the Getty Museum to expand and provide a platform for the education and research of art and art history. By making his millions in the oil business, Getty was able to collect and share artworks from around the world in the Getty Museum. After his death, the money he left the Museum in his will went to educational and research institutes including the Getty Research Institute, Getty Conservation Institute, Information Institute, Education Institute, and the Getty Foundation.
Philip II ascended the throne of Spain in 1556 becoming the most powerful man in the world at the age of 29. Though following the successful reign of his father, Charles V, Philip inherited a country in the throes of political strife as the Catholic Church called for reform and the condemnation of the Protestant religion. Despite his harsh policies aimed at the Protestant faith, Philip showed generosity towards the arts. The projects and works produced during Philip’s reign are not only evidence of a passion for painting and architecture but of a diverse and inclusive collection. Philip’s unprecedented relationship with the arts forever altered the state of art in Spain, allowing artistic creativity to flourish and influence future generations of artists.
For Paul Mellon, it was never about the money. As a child who grew up around masterpieces, their presence comforted him in his adult life. Mellon used that comfort to foster an intuition that led him to select which pieces of art to buy. Over his 91 years, he amassed a collection that included thousands of paintings, prints, sketches, and sculptures. The collection, though, was destined for a bigger audience than he and his wife on their Virginia farm. Now, the Mellon name is connected to art residing in institutions along the eastern seaboard and across the Atlantic.
Arthur M. Sackler was a New York medical researcher whose collection and patronage was pivotal in the introduction of non-western art to American museums. He endowed galleries at both Princeton and Harvard, was a major contributor to the development of the MoMa, and provided the founding endowment of the Smithsonian gallery that holds his name. In addition, he endowed the Arthur M. Sackler Foundation, which funds academic journals and allows for his private collection to be exhibited in venues throughout the world.
Paul Rosenberg (1881-1959), was a key supporter in the modern arts and developed close bonds with his artists, museums and private clients. He had the fortunate upbringing of having an antiques dealer as a father who was supportive and gave the necessary tools to become an art dealer. His collection began with traditional 19th century art, but later on towards the World Wars became a supporter of the Modern Arts, focusing his collection on Impressionism, Post-Impressionism, and Cubism. He is best known for his role in promoting early modern painters in France and facilitating the migration of French art to the United States during the first half of the 19th century. Despite losing some of his business in New York and reclaimed most of his lost work after the war. He played an important role in the early beginning of several museums such as The Museum of Modern Art, Art institute of Chicago, and The Philadelphia Museum of Art.
Lillian Thomas Pratt’s Russian Decorative Arts collection houses over a five hundred objects, the majority belonging to the craftsman Peter Carl Faberge. Mrs. Pratt’s collection memorializes not only the fine craftsmanship of an amazing artist but also an artistic period and Imperial culture that now form part of history. The collection contains a variety of objects. These are divided into eight categories: carving of animals, Imperial Easter eggs and miniatures, flowers, picture frames containing photographs of the Imperial family, handles for umbrellas and canes, icons, jewelry, and miscellaneous items. The highlight of the Pratt collection is the five Imperial Easter eggs purchased between 1933 and 1945. Mrs. Pratt donated her collection to the Virginia Museum of Fine Arts in 1947, the same year of her death. Her eye for fine objects allows the modern person to connect to a time of Imperial power and culture through the works from the house of Faberge.
Dr. Albert C. Barnes was raised in poverty but his ultimate entry into the field of chemistry led him to develop a compound for eye infections which he named Argyrol. The success of the drug gained him great wealth which he used to pursue his interests in art. He started purchasing art in 1911 and eventually amassed one of the most coveted collections of French and American early modern paintings. He had unique ideas about how art should be viewed and appreciated which inspired him to establish the Barnes Foundation near his home in Merion, PA. The foundation was a private institution dedicated to art education, not a museum. But decades after his death and out of financial necessity, the foundation was moved to its current location in Philadelphia. The education programs continue and the public now has access to this unrivaled collection. The legacy of Albert Barnes will continue for generations to come.
Paul Durand-Ruel was born in Paris in 1831, and he took over his family business from his father’s art gallery. He was revolutionist in the art and art dealing world, his legacies were discovering the Impressionist art, starting with present solo gallery shows by a single individual artist, which is now a main event in the art-world, and introducing the Impressionist art to the United Sates. After he took over took over his father’s the Gallerie Duarn-Ruel in 1846, he used his connection to expand his network to the artists, and visited their studio frequently, and this connection introduced him the Impressionist. During Franco-Prussian War, he moved to London and he rented a studio and introduced French paintings and it became a gathering place for the French painters were escaping the war, such as Monet, Manet, Renoir, other Impressionists. According to Monet, ” Without Paul Durand-Ruel, we should have died to hunger in London.” Durand-Ruel supported these New Painters financially and introduced their paintings not only Europe, but also the United States where it led to the great success to both the artists and Paul Duran-Ruel himself.
The action of collecting art often falls into the realm of the exceedingly wealthy. The art market makes notorious profit from people who can drop large quantities of money to fill up their ostentatious mansions. It is also for collectors who strategically enter the art market and are aware that their purchases could become vital assets to their financial input. We rarely hear about people who collect art for their entire adult lives, only to give it away, asking for no compensation in exchange. Then, there are some circumstances and some people that are atypical. Dorothy and Herbert Vogel (Herbert-
1922-2012, Dorothy-1935- present) are two anomalies that devoted themselves to what contradicted this normality of art collecting. Together, they amassed an about 4000 piece collection of contemporary (mostly minimal and conceptual) art. They usually collected directly from artists and formed relationships through going to several exhibitions and museums. By 1968, other artists and collectors were asking to see works in their small New York apartment. Richard Tuttle, Sol LeWitt, Jeanne-Claude and Christo are the three main artists who the Vogel’s made a deep connection with; nonetheless, the work of many of the artists within their collection is still generally under appreciated. Recognition, however, was not a concern for Herb or Dorothy. Their interest was in the art, not in the public reputation of the artist. After collecting for their entire marriage, they gave away all their work, free of charge to the National Gallery in Washington, D.C. In a project called the “50 Works of Art for the 50 States,” they also gave three or four works to different museums and institutions all over the country, further emphasizing that any person from any background or social class can appreciate the art.
Collecting art usually is done by the exceedingly wealthy. However, there are some circumstances and some people that contradict this normality. Herbert and Dorothy Vogel are two anomalies that devoted themselves to collecting solely because they loved art. They were two state employees, living on less than fifty thousand dollars a year, and they amassed a collection of around 4000 works of contemporary (mostly minimal and conceptual art). At the end of their collecting career they gave all of their works to the National Gallery. Their legacy has to do with persistence and building relationships as collectors but also about public access.