This book explores the theory that collectors of modern art in the first half of the twentieth century had more than financial means, keen instincts, and unflappable gumption: they had the ambition to learn about the art they collected. Drawing on their informed judgments as connoisseurs and independently developing the skills of professional curators, they demonstrated their acquired knowledge in the displays of the work they collected.
This book explores the theory that collectors of modern art in the first half of the twentieth century had more than financial means, keen instincts, and unflappable gumption: they had the ambition to learn about the art they collected. Drawing on their informed judgments as connoisseurs and independently developing the skills of professional curators, they demonstrated their acquired knowledge in the displays of the work they collected.
List of Illustrations Acknowledgments Introduction: The Collectors as Connoisseurs and Curators 1 Duncan Phillips Augustus Vincent Tack and a Collection in the Making 2 Albert C. Barnes Chaim Soutine and the Art in Seeing 3 Albert Eugene Gallatin Juan Gris and the Patron as Painter 4 Lillie Bliss Paul Cézanne and the Making of an Advocate 5 Etta Cone's Collaboration with Henri Matisse 6 G. David Thompson Paul Klee and Display as Philanthropy Conclusion: Legacies of Learning and Display Bibliography Index About the Author
List of Illustrations Acknowledgments Introduction: The Collectors as Connoisseurs and Curators 1 Duncan Phillips Augustus Vincent Tack and a Collection in the Making 2 Albert C. Barnes Chaim Soutine and the Art in Seeing 3 Albert Eugene Gallatin Juan Gris and the Patron as Painter 4 Lillie Bliss Paul Cézanne and the Making of an Advocate 5 Etta Cone's Collaboration with Henri Matisse 6 G. David Thompson Paul Klee and Display as Philanthropy Conclusion: Legacies of Learning and Display Bibliography Index About the Author
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