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When Gilded Age millionaires wanted to buy Italian Renaissance paintings, the expert whose opinion they sought was Bernard Berenson, with his vast erudition, incredible eye, and uncanny skill at attributing paintings. They visited Berenson at his beautiful Villa I Tatti, in the hills outside Florence, and walked with him through the immense private library-which he would eventually bequeath to Harvard-without ever suspecting that he had grown up in a poor Lithuanian Jewish immigrant family that had struggled to survive in Boston on the wages of the father's work as a tin peddler. Berenson's extraordinary self-transformation, financed by the explosion of the Gilded Age art market and his secret partnership with the great art dealer Joseph Duveen, came with painful costs: he hid his origins and felt that he had betrayed his gifts as an interpreter of paintings. Nevertheless his way of seeing, presented in his books, codified in his attributions, and institutionalized in the many important American collections he helped to build, goes on shaping the American understanding of art today. This finely drawn portrait of Berenson, the first biography devoted to him in a quarter century, draws on new archival materials that bring out the significance of his secret business dealings and the way his family and companions-including his patron Isabella Stewart Gardner, his lover Belle da Costa Greene, and his dear friend Edith Wharton-helped to form his ideas and his legacy. Rachel Cohen explores Berenson's inner world and exceptional visual capacity while also illuminating the historical forces-new capital, the developing art market, persistent anti-Semitism, and the two world wars-that profoundly affected his life.

Art historians --- Historians --- Berenson, Bernard, --- biographies [documents] --- art historians --- Berenson, Bernard --- biographies [literary works]

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This book explores the aesthetics, medial affordances, and cultural economics of monumental literary works of the digital age and offers a comparative and cross-cultural perspective on a wide range of contemporary writers. Using an international archive of hefty tomes by authors such as Mark Z. Danielewski, Roberto Bolaño, Elena Ferrante, Karl Ove Knausgård, George R.R. Martin, Jonathan Franzen, and William T. Vollmann, van de Ven investigates multiple strands of bigness that speak to the tenuous position of print literature in the present but also to the robust stature of literary discourse within our age of proliferating digital media. Her study makes a case for the cultural agency of the big book—as a material object and a discursive phenomenon, entangled in complex ways with questions of canonicity, materiality, gender, and power. Van de Ven takes us into a contested terrain beyond the 1,000-page mark, where issues of scale and reader comprehension clash with authorial aggrandizement and the pleasures of binge reading and serial consumption.

Big data. --- Large-scale literary works, digital and media studies, literary studies, gender studies.

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De Inter-Betonfabriek te Gent, 'de Betoncentrale' in de volksmond, was jarenlang een graffitiparadijs. De belangrijkste street artists komen aan bod met een selectie van het werk dat de muren van de fabriek sierde.

75.05 --- Schilderkunst ; graffiti, metro-kunst --- Painting --- industrial archaeology --- street art --- biographies [documents] --- graffiti artists --- graffiti --- anno 2010-2019 --- Ghent --- biographies [literary works] --- graffiti [casual notations]

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Douglas Crimp is the rare art critic whose work profoundly influenced a generation of artists. He is best known for his work with the "Pictures Generation" the very name of which Crimp coined to define the work of artists like Robert Longo and Cindy Sherman who appropriated images from mass culture to carry out a subversive critique. But while his influence is widely recognized, we know little about Crimp's own formative experiences before "Pictures. Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City during the late 1960s through the turbulent 1970s. Crimp participated in all of what made the city so stimulating in that vibrant decade. The details of his professional and personal life are interwoven with this the particularly rich history of New York City at that time, producing a vivid portrait of both the critic and his adopted city. The book begins with his escape from his hometown in Idaho, and we quickly find Crimp writing criticism for ArtNews while working at the Guggenheim where, as a young curatorial assistant, he was one of the few to see Daniel Buren's Peinture-Sculpture before it was removed amid cries of institutional censorship. Part biography and part cultural history, Before Pictures is a courageous account of an exceptional period in both Crimp's life and the life of New York City. At the same time, it offers a deeply personal and engaging point of entry into important issues in contemporary art.

English language --- autobiographies [literary works] --- kunstgeschiedenis --- Crimp, Douglas --- New York City --- Art historians --- Art --- History --- Crimp, Douglas. --- New York City [New York]

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Portret van de nadagen (1914-1926) van de Franse impressionistische schilder Claude Monet (1840-1926)

biographies [documents] --- easel paintings [paintings by form] --- Monet, Claude --- 75.07 --- Schilderkunst ; schilders --- Schilderkunst ; begin 20ste eeuw ; Cl. Monet --- Biografieën ; Claude Moner --- Impressionisme --- Monet, Claude 1840-1926 (°Parijs, Frankrijk) --- waterlelies --- MAD-faculty 19 --- levensverhaal --- impressionisme --- biographies [literary works]