Seven essays challenge the prevailing view of Crivelli as a provincial artist working in an anachronistic ‘Gothic’ style, investigate the remarkable facture of his paintings, and shed new light on his rediscovery by collectors. Repositioning Crivelli’s contributions within wider developments in the history of western art, Stephen J. Campbell (Johns Hopkins University), C. Jean Campbell (Emory University), Thomas Golsenne (École Nationale Supérieure d’Art de Nice), and Alison Wright (University College London) reveal his artistic ambition. Crivelli is reevaluated as an experimental artist who masterfully manipulated the surfaces of his paintings into visionary encounters with the divine, forged a modern icon, and offered a powerful alternative to new models of painting associated with Florence. Gianfranco Pocobene (Isabella Stewart Gardner Museum) examines the technical facility that underpins Crivelli’s dazzling pictorial effects and publishes the results of the first ever technical analysis on the Gardner’s Saint George and the Dragon. Essays by Francesco De Carolis (Università di Bologna) and Oliver Tostmann (Wadsworth Athenaeum) investigate the painter’s critical fortunes. The former explores the dispersal of Crivelli’s works in nineteenth-century Italy and their role in shaping his modern reputation, while the latter examines the American taste for Crivelli in the early twentieth century.
The catalog reflects the iconographic range of his images. Entries written by a team of scholars in Europe and the United States include new insights and up-to-date bibliography for twenty-three paintings and Crivelli’s only surviving drawing on paper.
Edited by C. Jean Campbell
Published by Holberton, 2015
9.2 x 0.8 x 10.5 inches
Throughout the millennia, myths of the ancient Greeks, altered, amended, and enriched, have served as touchstones of European civilization.
The exhibition Passionate Acts in Greek Art and Myth explores the theme of myths as expressions of emotion and sentiment in antiquity and later periods.
By Hilliard T. Goldfarb, with forward by Anne Hawley, former Director of the Isabella Stewart Gardner
Published by the Trustees of the Isabella Stewart Gardner Museum, 1993
10.6 x 8.2 x 0.2 inches
If Rembrandt's career had ended in 1631, before the 25-year-old artist moved from his native town of Leiden to the booming metropolis of Amsterdam, how would history remember him? This is the theme of Rembrandt Creates Rembrandt.
Rembrandt's work in Leiden was already extraordinarily creative and intensely dramatic. In the years 1629 to 1631, the artist struggled to master different genres and techniques. He worked with Jan Lievens and took his first known pupil, Gerrit Dou. By the time he decided to seek his fortune in Amsterdam, his work had already achieved a unique and profound sense of color, light, and human emotion.
Rembrandt Creates Rembrandt includes contributions by Alan Chong, Arthur Wheelock, Christopher White, and Mariët Westermann.
Published by the Isabella Stewart Gardner Museum, 2000
10.1 x 0.7 x 11.9 inches
For the first time, The Gardner Museum has authorized a book on the daring theft from the Museum of 13 priceless works of art, including 3 Rembrandts and Vermeer’s The Concert, together worth over $500 million.
In 1903, Isabella Stewart Gardner opened her extraordinary museum, modeled after a Venetian palazzo, for the "enjoyment and education of the public forever." She had amassed an impressive collection including some of the finest masterpieces by Rembrandt, Titian, Raphael, and Botticelli, as well as works by her contemporaries such as Sargent, Whistler, and Degas. The art works included paintings, sculptures, drawings and prints, furniture, ceramics, glassware, books, manuscripts and ephemera―all but 13 of which remain in place today.
In the early morning hours of March 18th, 1990, two thieves disguised as police officers talked their way into the museum, and tied up the night guards. They cut some of the paintings from their frames and stacked up others to take, leaving behind a priceless Rembrandt leaning against a chest. It is believed that the thieves “came for the Rembrandts”― but they also stole works by Vermeer, Degas, Manet, and Flinck, as well as a Chinese beaker and a Napoleonic eagle finial. Eighty-one minutes later, they were gone.
Stolen gives an inside look at the robbery and explores the impact of the missing works with commentary from the Museum’s Director, Curators, and the Chief Investigator. They describe how the theft, often called a crime against humanity, has affected visitors and disrupted Isabella Stewart Gardner's careful arrangement of the works. The book is highly visual, with original photographs of the stolen objects, as well as how they originally looked placed in the galleries. Stolen, the only book on the theft commissioned by the Gardner Museum, provides the context to a brazen heist that left one of the world’s great museums in search of its lost masterpieces.
The Museum is offering $10 million for safe return of all the works; the crime remains the largest unsolved art theft in history.
Learn even more about the art on WBUR's podcast Last Seen.By Isabella Stewart Gardner Museum
For nearly 100 years, the Gardner Museum has been making of the most beautiful gardens in New England, keeping alive not only an extraordinary array of plant species, but also an excellent tradition of horticulture.
In May 1997, the Museum honored that tradition with the sixth annual interdisciplinary symposium on the subject of garden history, chaired by John Dixon Hunt, the editor of Studies in the History of Gardens and Designed Landscapes. The seven papers comprising this edition of the journal offer insights from across time and space, addressing topics ranging from Chinese garden and Roman domestic space to the femme ornee and the jardin pittoresque.
Edited by John Dixon Hunt
Published by Taylor and Francis, 1999
8.5 x 0.3 x 10.5 inches
With an almost Surrealist sensibility for collage and lyrical combinations and juxtapositions, the artist Su-Mei Tse experiments with free-form narrative to share the works and references that have inspired her on her creative path.
This artist book layers a variety of images with notes and quotes selected by Tse. It was published in conjunction with her exhibition, Floating Memories.
Born in Luxembourg, based also in Paris and Berlin, Su-Mei Tse has gained international recognition with her videos, photographs, sculptures, and installation works, which often incorporate sound and musical components. Her work explores the nature of perception and temporality, and urges viewers towards moments of deep introspection.
By Su-Mei Tse, edited by Pieranna Cavalchini, Curator of Contemporary Art at the Isabella Stewart Gardner Museum
Published by Charta/Isabella Stewart Gardner Museum, 2010
6 x 0.5 x 7.2 inches
From the exhibition The Artistic Splendor of the Spanish Kingdoms: The Art of Fifteenth-Century Spain—on view at the Gardner Museum from January 13 to April 7, 1996—comes this catalog, which explores the flourishing culture in Spain during the fifteenth century as well as the lavishly decorated artworks that were produced during this historic moment.
This catalog features works from Gardner's collection juxtaposed with other pieces of art from the period, on loan from the San Diego Museum of Art, the Williams College Art Museum, the Museum of Art at the Rhode Island School of Design, the Minneapolis Institute of Arts, the Metropolitan Museum of Art, the Harvard University Art Museums, and others.
By Judith Berg Sobre and Lynette M. F. Bosch, with preface by Anne Hawley, former Director of the Isabella Stewart Gardner Museum
Published by the Isabella Stewart Gardner Museum, 1996
13 x 0.4 x 10 inches
Available exclusively through Gift at the Gardner, The Isabella Stewart Gardner Museum is thrilled to offer a limited re-print of an "indispensable edition."
When Isabella Stewart Gardner agreed to sponsor the career of and aspiring young writer named Bernard Berenson, neither dreamed that together they would build one of this country's most impressive collections of Italian Renaissance painting. The correspondence between Bernard Berenson and Isabella Stewart Gardner offers fresh insight into the origins of the Isabella Stewart Gardner Museum and gives voice to an enduring friendship that created and nurtured it.
The more than eight hundred letters included in this volume record the evolving relationship between two singular personalities: a flamboyant socialite known for lively eccentricities and her engagement with the arts; and the brilliant connoisseur and America's leading expert on Italian Renaissance painters. Their correspondence spans nearly four decades and presents a vivid portrait of their passionate interests, their perennial travels and their liaisons with artists and intellectuals on both sides of the Atlantic, including Edith Wharton, Walter Lippmann, Sarah Bernhardt, John Singer Sargent, and George Santayana.
Mary Berenson, who abandoned her comfortable and conventional first marriage to become protégée and, later, the wife and close collaborator of Berenson, becomes correspondent after 1901. Indeed, Mrs. Gardner's hunch that she now had "two friends instead of one" is borne out in the lively series of letters from Mary, who comes to play an increasingly vital role in her husband's multifaceted achievements.
The reprint of this indispensable 1987 edition includes a new preface co-authored by Dr. Machtelt Bruggen Israels, guest researcher, University of Amsterdam, and Dr. Carl Brandon Strehlke, curator emeritus, Philadelphia Museum of Art. Together they explore the relationship between Isabella Stewart Gardner and Bernard Berenson that emerges from the correspondence. Meticulously edited and annotated by Rollin van N. Hadley, former director of the Isabella Stewart Gardner Museum, these elegant and entertaining letters continue to be an enduring resource for art historians and others concerned with the development of connoisseurship and the evolution of taste. At the same time, they pay tribute to a remarkable museum and the very personal visions that brought it to life.
Edited and annotated by Rollin van N. Hadley, former director of the Isabella Stewart Gardner Museum
Published by the Isabella Stewart Gardner Museum, 2016
9.1 x 1.8 x 6.4 inches
Cassoni is the Italian word for the chests, painted with scenes from myth and literature, central to upper-class weddings of the 15th century. Little known today, cassoni deserve recognition as masterworks of the Renaissance. Botticelli, Pesellino and other superlative artists painted them, and they are precious early examples of the mythopoetic subjects that would form the core of European art until the 20th century.
The essays in this book shed new light on the meaning of cassoni through informative discussions of Renaissance wedding rituals, male-female relations and daily domestic life. A catalog section on cassoni in the exhibition that this book accompanies provides a unique guide to the stories of love, marriage and politics depicted on these sumptuous objects.
By Cristelle Louise Baskins, Jacqueline Musacchio, and Adrian W Randolph
Published by Pittsburgh Gutenberg Periscope Publishing, 2008
8.7 x 1 x 11.3 inches
Dubbed “a mighty poet” by American author Henry James, Titian remains one of the most celebrated painters in Western art. Since his death in 1576, the artist’s reputation has never waned. In Gilded Age America, Titian paintings became the peerless prizes of leading collectors and quickly rose to the top of Isabella Stewart Gardner’s wish list. In 1896, she landed his masterpiece, The Rape of Europa. It became the sole example of his celebrated cycle of poesie outside of Europe, inspired an entire gallery in her newly built museum, and contributed to England’s national outcry over the loss of its art treasures. This book – the first dedicated to Europa – tells the painting’s story in Gardner’s time, in Titian’s, and offers rare insights into the artist’s virtuoso technique.
Published here for the first time, dramatically enlarged details of the composition demonstrate Titian’s deft touch and dazzlingly technical accomplishment. These bravura passages recently revealed by the painting’s comprehensive cleaning – the first since its arrival in America – are accompanied by commentary from the conservator, Gianfranco Pocobene, who returned Europa to its original glory.
This book accompanies the Gardner Museum exhibition, Titian: Women, Myth, and Power, reuniting his poesie series in the United States for the first time. Gift at the Gardner also carries a hardcover title, Titian: Love, Desire, Death, which is the National Gallery’s exhibition catalogue for the same suite of paintings.
Edited by Nathaniel Silver
Published by Paul Holberton Publishing, 2020
9.3 x 7.6 inches