A Woman of No Importance?: Elizabeth Workman's Collection of Impressionist and Post-Impressionist Art in Context.
14 Frances Fowle, Elizabeth Workman's Collection 19: Interdisciplinary Studies in the Long Nineteenth Century, 31 (2020) <https://doi.org/10.16995/ntn.3001 > In one of very few surviving letters, written to the French dealer Paul Rosenberg in 1924, Robert makes a clear reference to Courbet's The Tre...
| Publicado en: | 19: Interdisciplinary Studies in the Long Nineteenth Century no. 31; pp. 1 - 27 |
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| Formato: | Artículo |
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Open Library of Humanities
2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=149459245&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 149459245 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17551560 ATMS jtl: 19: Interdisciplinary Studies in the Long Nineteenth Century issn: 17551560 maglogo: N pubinfo: dt: 2021 iid: 31 pid: 15576 pub: Open Library of Humanities artinfo: ui: 149459245 ppf: 1 ppct: 26 formats: fmt: @attributes: type: P size: 7.4MB tig: atl: A Woman of No Importance?: Elizabeth Workman's Collection of Impressionist and Post-Impressionist Art in Context. aug: au: Fowle, Frances su: Impressionism (Art movement) Art patronage Art & society 20th century art Art collecting sug: subj: Impressionism (Art movement) Art patronage Art & society 20th century art Art collecting ab: 14 Frances Fowle, Elizabeth Workman's Collection 19: Interdisciplinary Studies in the Long Nineteenth Century, 31 (2020) <https://doi.org/10.16995/ntn.3001 > In one of very few surviving letters, written to the French dealer Paul Rosenberg in 1924, Robert makes a clear reference to Courbet's The Trellis of 1862 (Toledo Museum of Art), as belonging to Elizabeth. 3). 34 In summary, therefore, McTaggart aside, the bulk of the Workmans' Scottish pictures, up until the First World War, were acquired jointly, while the French pictures were purchased by Elizabeth, albeit on Robert's account. Before the First World War, it is impossible to tell whether Robert or Elizabeth was guiding their choice of Scottish paintings, since the purchase books always list Robert as the buyer, while the later collection sales attribute the entire collection to Elizabeth. For much of her life 23 Dimitri Salmon, '"Perhaps Courtauld's Most Trusted Adviser": Percy Moore Turner', in The Courtauld Collection: A Vision for Impressionism, ed. by Karen Serres (London: Fondation Louis Vuitton and Paul Holberton Publishing, 2019), p. 70. 24 Karen Serres, "Introduction: Samuel Courtauld, Champion of Impressionism", in The Courtauld Collection, ed. by Serres, pp. 1-13 (p. 3); and Salmon, p. 70. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of 19: Interdisciplinary Studies in the Long Nineteenth Century is the property of Open Library of Humanities and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: 19: Interdisciplinary Studies in the Long Nineteenth Century holder: Open Library of Humanities dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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