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Not at all what one is used to : the life and times of Isabella Gardner
Born in 1915 to one of New England's elite wealthy families, the niece and namesake of the important art collector Isabella Stewart Gardner (b. 1840-d. 1924), Isabella Gardner was expected to follow a certain path in life, one that would take her from marriageable debutante to proper society lady. But that plan was derailed when at age eighteen, Isabella caused a drunk driving accident. Her family, to shield her from disgrace, sent her to Europe for acting studies, not foreseeing how life abroad would fan the romantic longings and artistic impulses that would define the rest of Isabella's years. In this biography, the author tells the story of this passionate, troubled woman, whose career as a poet was in constant compromise with her wayward love life and her impulsive and reckless character. Life took Gardner from the theater world of the 1930s and '40s to the poetry scene of the '50s and '60s to the wild, bohemian art life of New York's Hotel Chelsea in the '70s. She often followed where romance, rather than career, led her. At nineteen, she had an affair with a future president of Ireland, then married and divorced three famous American husbands in succession. Turning from acting to poetry, Gardner became associate editor of Chicago's Poetry magazine and earned success with her best received collection, Birthdays from the Ocean, in 1955. Soon after, her life took a turn when she met the southern poet Allen Tate. He was married to Caroline Gordon but left her to wed Gardner, who moved to Minneapolis and gave up writing to please him, but after a few short years, Tate fell for a young nun and abandoned her. In the liveliest of places at the right times, Gardner associated with many of the most significant cultural figures of her age, including her cousin Robert Lowell, T.S. Eliot, Ludwig Mies van der Rohe, Virgil Thomson, Tennessee Williams, and Robert Penn Warren. But famous connections could never save Isabella from herself. Having abandoned her work, she suffered through alcoholism, endured more failed relationships, and watched the lives of her children unravel fatally. Toward the end of her life, though, she took her pen back up for the poems in her final volume. Redeemed by her writing, Gardner died alone in 1981, just after being named the first poet laureate of New York State. Through interviews with many Gardner intimates and extensive archival research, the author delves deep into the life of a woman whose poetry, according to one friend, \"probably saved her sanity.\" Much more than a biography, this the story of a woman whose tumultuous life was emblematic of the cultural unrest at the height of the twentieth century.
Book
Not at all what one is used to : the life and times of Isabella Gardner
Born in 1915 to one of New England’s elite wealthy families, Isabella Gardner was expected to follow a certain path in life—one that would take her from marriageable debutante to proper society lady. But that plan was derailed when at age eighteen, Isabella caused a drunk-driving accident. Her family, to shield her from disgrace, sent her to Europe for acting studies, not foreseeing how life abroad would fan the romantic longings and artistic impulses that would define the rest of Isabella’s years. In Not at All What One Is Used To, author Marian Janssen tells the story of this passionate, troubled woman, whose career as a poet was in constant compromise with her wayward love life and her impulsive and reckless character. Life took Gardner from the theater world of the 1930s and ’40s to the poetry scene of the ’50s and ’60s to the wild, bohemian art life of New York’s Hotel Chelsea in the ’70s. She often followed where romance, rather than career, led her. At nineteen, she had an affair with a future president of Ireland, then married and divorced three famous American husbands in succession. Turning from acting to poetry, Gardner became associate editor of Chicago’s Poetry magazine and earned success with her best-received collection, Birthdays from the Ocean , in 1955. Soon after, her life took a turn when she met the southern poet Allen Tate. He was married to Caroline Gordon but left her to wed Gardner, who moved to Minneapolis and gave up writing to please him, but after a few short years, Tate fell for a young nun and abandoned her. In the liveliest of places at the right times, Gardner associated with many of the most significant cultural figures of her age, including her cousin Robert Lowell, T.S. Eliot, Ludwig Mies van der Rohe, Virgil Thomson, Tennessee Williams, and Robert Penn Warren. But famous connections could never save Isabella from herself. Having abandoned her work, she suffered through alcoholism, endured more failed relationships, and watched the lives of her children unravel fatally. Toward the end of her life, though, she took her pen back up for the poems in her final volume. Redeemed by her writing, Gardner died alone in 1981, just after being named the first poet laureate of New York State. Through interviews with many Gardner intimates and extensive archival research, author Marian Janssen delves deep into the life of a woman whose poetry, according to one friend, “probably saved her sanity.” Much more than a biography, Not at All What One Is Used To is the story of a woman whose tumultuous life was emblematic of the cultural unrest at the height of the twentieth century.
eBook
Chasing beauty : the life of Isabella Stewart Gardner
Chronicles the life of the creator of one of America's most stunning museums-an American original whose own life was remade by art; includes archival photos of her world, museum and the art she collected.
BOOK
Hokusai Inspiration and Influence/Betye Saar Heart of a Wanderer
La structure du parcours est la principale faiblesse de cette exposition pilotée par la conservatrice de l'art japonais, Sarah E. Thompson, qui réussit néanmoins à mettre en valeur les estampes ukiyo-e de la collection du MFA Boston, un des plus importants corpus au monde, dont certains dessins jamais montrés. Avec l'artiste Nan Goldin, il y a toutefois plusieurs raisons de s'insurger contre le nom Sackler qui orne encore la façade du Harvard Art Museums, un des trop nombreux musées dans le monde à ne pas avoir renoncé à son association avec cette famille impliquée dans l'épidémie des opiacés2. L'impérialisme et la domination sous-jacents à ce modèle caractéristique des cabinets de curiosités occidentaux, en vogue depuis le 17e siècle, sont heureusement remis en perspective par les expositions d'art contemporain temporaires, dont celle de Betye Saar (1926-) le printemps dernier, qui enrichissent la vocation du musée dans sa nouvelle section. Museum of Fine Arts, Boston du 26 mars au 16 juillet 2023 Isabella Stewart Gardner Museum, Boston du 16 février au 21 mai 2023 1 - Annie Cohen-Solal, « Un jour, ils auront des peintres » : L'avènement des peintres américains (Paris 1867-New York 1948), Paris, Gallimard, 2000, p. 49.
Journal Article
Art and Science of Painting Attributions: Bernard Berenson
When the book on Florentine painters was reviewed in Science magazine, Berenson's idea of tactile values (the artist's ability to include in a painting an impression of the form, which our mind accepts as real) was commended as a pioneering attempt to apply psychology to the interpretation of artworks, but his explanation of what determines our mental ranking of paintings was thought somewhat inadequate (7 ). [...]the villa and its exceptional library became Berenson's most important legacy: he bequeathed I Tatti to Harvard University and it became the Center for Italian Renaissance Studies, active to this day (10).
Journal Article
Moxie and the art of rule breaking : a 14-day mystery
Instead of spending a carefree summer exploring downtown Boston with best friend Ollie, thirteen-year-old Moxie must solve a famous art heist in order to protect those she loves from her ailing grandfather's gangster past. Includes facts about the 1990 Gardner Museum art theft.
Book
Rediscovering the Art of the Much-Demonized Chicago Wheeler-Dealer Charles Tyson Yerkes
1 The painting, on display in a major exhibition of Turner's late seascapes at the Manchester Art Gallery, was Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water. 11 Auguste Rodin's marble sculpture Orpheus and Eurydice (1893), now at the Metropolitan Museum of Art in New York, was one of a pair of sculptures that, purchased by Yerkes, were the first of the sculptor's work to find a home in the United States. 12 Depicting the bard Orpheus and his wife Eurydice walking out of hell, one behind the other, it is a “dramatic depiction of human grief [that] touches the heart of bereavement.” Bacchante and Infant Faun, bronze sculpture by Frederick William MacMonnies (1901), Museum of Fine Arts, Boston, Massachusetts Cupid and Psyche, marble sculpture by Auguste Rodin (about 1893), Metropolitan Museum of Art, New York Diana, bronze sculpture by Jean-Antoine Houdon (1782), Huntington Library, San Mateo, California Mills at Dordrecht, painting by Charles François Daubigny (1872), Detroit Institute of Arts, Detroit The Music Lesson, painting by Gerard ter Borch (1665–1675), Art Institute of Chicago, Chicago Philemon and Baucis, painting by Rembrandt van Rijn (1658), National Gallery of Art, Washington, DC Pygmalion and Galatea, painting by Jean-Leon Gerome (1890), Metropolitan Museum of Art, New York Pygmalion and Galatea, sculpture by Jean-Leon Gerome (1893), Hearst Castle, San Simeon, California Spring, painting by Lawrence Alda-Tadema (1894), J. Paul Getty Museum, Malibu, California Valley of Tiffauge, painting by Theodore Rousseau (1837–44), Cincinnati Art Museum, Cincinnati Although overshadowed by such connoisseurs as Henry Clay Frick and Isabella Stewart Gardner, Yerkes was not only the first American collector to own sculptures of Auguste Rodin but also the first to buy a signed history painting by Rembrandt van Rijn and the first, in 1893, to publish a catalogue of his collection with images and information about each of the artworks. 14 During his years in Chicago, local newspapers gave significant coverage to his art holdings, 15 and after Yerkes died in 1905, the New York Times devoted several days of front-page stories to the auction of his collection, calling it “the biggest art sale that America [had] known” up to that point, netting $2.2 million, the equivalent of about $68 million in 2021. In my book about the elevated Loop that Yerkes brought into existence, I give only five paragraphs to his art. 17 Yet it is important to spotlight and detail this aspect of the financier's life because he was a key figure in the American art world and continues to exert an influence today with the presence of so many of his holdings now in American museums.
Journal Article
Isabella Stewart Gardner: 'One of the Seven Wonders of Boston'
Isabella Stewart Gardner (1840–1924) was a firecracker of a woman with a studied yet eclectic taste in art and the means to acquire lots of it. At twenty-seven, after losing her nearly three-year-old son to pneumonia and another child to miscarriage, her husband, John Lowell “Jack” Gardner, planned a getaway to help relieve their grief. Isabella relished the travel. Doctors had warned her against another pregnancy. She soon gave up thoughts of having children and embraced the life of cosmopolitan heiress, traveling Europe, Scandinavia, Russia, and the Middle East; collecting paintings, sculptures, tapestries, photographs, ceramics, and a wide variety of artifacts.2Befriending many of the most renowned artists of the day, including the painters James McNeill Whistler and John Singer Sargent, Isabella steadily built her collection. As it grew, she and her husband formed plans for a new home with space enough to display all of it, but, in 1891, he died suddenly at the age of sixty-one. Isabella refused to be stultified by despair. She bought land in the marshy Back Bay Fens area of Boston, alongside part of the “Emerald Necklace” park system designed by Frederick Law Olmstead—and began hashing out ideas for her new home and gallery.
Journal Article
A Psychoanalyst's Gift: Lillian Malcove as Collector
[...]the relationship between art and psychoanalysis has a long history; Ernst Kris (1952), among others, was a pioneer in combining expertise in both areas. According to another friend, Hsio Yen Shih, curator at the ROM, Lillian’s intense interest in art was evident when she made a special trip to Toronto in 1974 to view the new Chinese archeological finds. [...]her passionate attention rather than a more passive mode characterized her relation to the patient” (Kabcenell, 1982). [...]her generativity shone through when she bequeathed intact her collection from which others could learn and appreciate its beauty.
Journal Article