Relevant bibliographies by topics / Isabella Stewart Gardner

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Isabella Stewart Gardner'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Isabella Stewart Gardner"

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Bush, Elizabeth. "What Isabella Wanted: Isabella Stewart Gardner Builds a Museum by Candace Fleming." Bulletin of the Center for Children's Books 74, no. 11 (2021): 465–66. http://dx.doi.org/10.1353/bcc.2021.0431.

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Lawrence, Kathleen. "Henry James: Letters to Isabella Stewart Gardner (review)." Henry James Review 32, no. 3 (2011): 284–86. http://dx.doi.org/10.1353/hjr.2011.0025.

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Griffin, Susan M. "Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle (review)." Henry James Review 26, no. 3 (2005): 306–8. http://dx.doi.org/10.1353/hjr.2005.0020.

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Beckmann, Daniel, Motoo Komoda, and Yasuhisa Toyota. "Acoustical design of Calderwood Hall at the Isabella Stewart Gardner Museum." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 1894. http://dx.doi.org/10.1121/1.4754945.

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Docherty, Linda J. "Translating Dante." Religion and the Arts 22, no. 1-2 (February 16, 2018): 194–217. http://dx.doi.org/10.1163/15685292-02201016.

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Abstract Isabella Stewart Gardner’s museum (Fenway Court) owes its distinctive character to the influence of Dante Alighieri. Gardner’s interest in the Italian poet originated in a context of late nineteenth-century Boston’s enthusiasm for his writing and her personal quest for a meaningful life’s work. As a student of Charles Eliot Norton, a member of the Cambridge Dante Society, and a collector of rare editions of The Divine Comedy, Gardner became apprised of issues surrounding literary translation. When she began to study visual images inspired by Dante’s poetry and to acquire European masterpieces, she was poised to conceive a variation on this practice. As a visual translation of Paradiso, Fenway Court was not an illustration of a classic text but rather a conversion of a spiritual idea of love and beauty from one art form to another. In creating a museum for public education and enjoyment, Gardner exemplified Dante’s moral concept of free will and evoked his poetic vision of heavenly beauty.
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Crumpacker, Laurie, and Douglass Shand-Tucci. "The Art of Scandal: The Life and Times of Isabella Stewart Gardner." New England Quarterly 72, no. 1 (March 1999): 141. http://dx.doi.org/10.2307/366634.

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Matthews, R. "Collectors and why they collect: Isabella Stewart Gardner and her museum of art." Journal of the History of Collections 21, no. 2 (February 27, 2009): 183–89. http://dx.doi.org/10.1093/jhc/fhp019.

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Lourenço, Maria Cecília França. "Boston: museums, dignity and city." Revista ARA, no. 3 (October 6, 2017): 11. http://dx.doi.org/10.11606/issn.2525-8354.v0i3p11-35.

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O artigo aborda a singularidade dos museus em Boston/ EUA, ao se analisar dois deles: Museum of Fine Arts/ MFA e Isabella Stewart Gardner Museum. Interessa aqui debater as relações múltiplas implementadas por eles, de modo a conquistar diferente público local, além de valorizar e dialogar com artistas. A atitude colabora para transformar visitante por um dia em parceiro, em todo processo preservacionista sistemático, ou seja, aquisição/doação, acolhida, salvaguarda, pesquisa, documentação, interpretação, conservação, restauração, exposição, difusão, publicação, visitas e ação educativa, para salientar as essenciais
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Lebeau, Justine. "La réactualisation des collections fermées, trois études de cas. Les collections du Isabella Stewart Gardner Museum, de Kettle's Yard et de la New Art Gallery Walsall." Muséologies 4, no. 1 (October 8, 2015): 64–77. http://dx.doi.org/10.7202/1033532ar.

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Les collections fermées, conservées dans des demeures historiques, posent de véritables défis de renouvellement et d’actualisation à ses dirigeants. Ceux-ci doivent répondre aux nouvelles exigences des visiteurs en matière d’accueil et de visites muséales, tout en respectant leur devoir d’immuabilité envers les dispositions d’exposition de leurs collections. À partir de trois études de cas, soit les collections du Isabella Stewart Gardner Museum, de Kettle's Yard et de la New Art Gallery Walsall, Justine Lebeau détaille quatre stratégies de réactualisation de ce type de collections adoptées par ces institutions.
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Soultanian, J., L. Lazzarini, and A. E. Charola. "Conservation problems of the Veronese altar triptych by Bartolomeo Giolfino at the Isabella Stewart Gardner Museum, Boston." Studies in Conservation 31, sup1 (January 1986): 72–74. http://dx.doi.org/10.1179/sic.1986.31.supplement-1.72.

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Dissertations / Theses on the topic "Isabella Stewart Gardner"

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Litowitz, Dana D. "The character of an art collection Isabella Stewart Gardner, Henry Clay Frick, Albert C. Barnes, David Lloyd Kreeger, and the Donor Memorial in the U.S. /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1418.

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Baldaque, Lourença Agustina Bessa-Luís Alves. "Da colecção privada ao museu público: o empreendedorismo cultural de Isabella Stewart Gardner e Gertrude Vanderbilt Whitney." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11962.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Norte-Americanos
Este trabalho pretende dar a conhecer a conjuntura na qual o empreendedorismo cultural das coleccionadoras de arte, Isabella Stewart Gardner e Gertrude Vanderbilt Whitney, teve lugar. Para tal temos em conta as particularidades que compõem os dois casos que contribuíram para o enriquecimento do panorama cultural estadunidense. Por outro lado, propomos perceber de que modo a atuação de ambas refletia os cânones do coleccionismo e estéticos contemporâneos. Mais ainda, iremos analisar como o facto de se tratar de duas mulheres que coleccionavam arte – sendo esta uma prática relacionada com o capital masculino – constituiu um contributo para a valorização do papel da mulher, em particular na cultura. E uma vez que é nos studioli ou gabinetes de curiosidades que encontramos semelhanças com o espírito do coleccionador estadunidense, nomeadamente no reflexo de uma aspiração expressa através de uma colecção, começamos, no capítulo I, por dar a conhecer diferentes casos de coleccionismo europeu, desde a criação dos studioli aos museus públicos. Os gabinetes de curiosidade, ao representarem um veículo privilegiado para a aquisição de conhecimento, são representativos do desenvolvimento de um modelo cultural desde a esfera privada ao museu público. Deste modo, propomos olhar a evolução deste modelo na Europa e, em contraste, os moldes em que este modelo veio a influenciar o coleccionismo privado nos Estados Unidos da América e como nele se inclui o contributo da mulher. Assim, e tendo em conta o contexto cultural e social analisado anteriormente, propomos olhar nos capítulos II e III o percurso das coleccionadoras e mecenas das artes Isabella Stewart Gardner e Gertrude Vanderbilt Whitney. Em Gardner focamos a sua dedicação ao conhecimento do mundo da arte, e na formação de uma colecção privada que deu origem a museu público. Destacamos o seu papel no campo do empreendedorismo cultural, o qual estava conotado com uma atividade masculina. A sua relação com a arte e os artistas foi também uma forma de valorizar o papel da mulher, e de quem destacamos John Singer Sargent. O pintor representa a tradição artística europeia, contudo contribuiu para a criação de uma identidade e de uma imagem da elite americana, e em particular da figura feminina. Em Whitney temos em conta o seu background cultural, numa família que contribuiu para a difusão de um estilo de vida sustentado nos costumes europeus dentro da genteel tradition. Gertrude Vanderbilt Whitney, conforme veremos, viria a usufruir do gosto pela arte, contudo, vocacionado para a arte americana do seu tempo. Além de coleccionadora e artista, a sua acção passou pela criação de espaços expositivos e ateliers e pela aquisição de obras de arte que constituíram o acervo pessoal da mecenas. O espólio deu origem ao Whitney Museum of American Art, reclamando o talento e a visão artística americana, tendo contribuído para a afirmação de uma identidade artística nacional.
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Walker, Mary H. Molly Giles. "Challenges and Choices -- Four Single Donor Museums (the Isabella Stewart Gardner Museum, the McNay Museum of Art, the Walker Art Center and The Barnes Foundation) -- Creatively Adapt to Change." Thesis, The University of the Arts, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1553850.

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Single donor museums like the Isabella Stewart Gardner in Boston, the McNay Museum of Art in San Antonio, the Walker Art Center in Minneapolis and The Barnes Foundation in Merion and Philadelphia, provide an intimate experience for their visitors, donors, supporters and staff members. They must compete with larger, more encyclopedic museums, with larger budgets and more resources. Like all museums, they hold art in the public trust and are responsible to the public. Contemporary museology asks not only that all museums protect their collections and educate the public, but that they also engage with their communities. None of the single donors highlighted had to donate their art, their money or their homes, but all chose to. Each museum chose to expand or relocate in response to difficult problems, whether financial, logistical (need for more space) or legal. Each engages new publics in creative ways. Certain predictable problems arose for each and they creatively resolved (and continue to resolve) those problems. Lessons learned from the experience of four single donor museums may suggest new thinking for those anticipating similar expansions or moves.

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Roach, Brittni R. "Patronage and Power: Women as Leaders and Activists in American Music (1890-1940)." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416315037.

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Riley, Casey K. "From page to stage: Isabella Stewart Gardner's photograph albums and the development of her museum, 1874-1924." Thesis, 2015. https://hdl.handle.net/2144/15722.

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This dissertation traces the arc of Isabella Stewart Gardner's professional development through her photographic and archival practices in the late nineteenth and early twentieth centuries. While Gardner's museum in Boston is well known, she destroyed evidence pertinent to her curatorial agenda. To recover these methods, this project surveys Gardner's involvement with photography through two of her earliest travel albums, all fifteen of her illustrated guest books, and five albums of the evolving galleries in the Isabella Stewart Gardner Museum. The process of photographic album making supported strategies of research, collection, installation, and preservation that Gardner would use as a patron and institutional leader. Gardner's albums illuminate her actions not only as a collector of travel photography by Antonio Beato, Francis Frith, Pascal Sebah, and others, but also as a snapshot photographer and a commissioner of professional architectural photography in Boston. Her multivalent photographic practices reveal the ways in which she used albums and photography to realize her professional ambitions. Collecting, creating, arranging, and displaying photographs were not sentimental pastimes for Gardner, but processes intrinsic to the formation of her identity as a cosmopolitan innovator and civic leader. The first chapter analyzes the handwritten narrative, watercolor paintings, and commercial photography of Egyptian antiquities in Gardner's 1874-1875 "Egypt Diary" to discover the earliest origins for her actions as a collector. The second chapter analyzes the photographic assemblages of Gothic architecture in Gardner's 1879 travel albums of England to show how that journey influenced her design of the galleries and garden at Fenway Court. The third chapter reads Gardner's guest books as socially networked photographic objects to demonstrate their role in cultivating institutional supporters and shaping the cultural mission of her museum. The fourth chapter establishes the importance of reproductive technologies in the assembling of Gardner's collection of art and the pivotal role of architectural photography in the preservation of her civic bequest. The case studies within this dissertation form a comprehensive examination of Gardner's photographic engagements and the importance of photography in the formation and preservation of her institutional legacy.
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chang-wei and 張微. "Bernard Berenson‘s Way To Be A Art Expert-- A Case Study Of Isabella Stewart Gardner Museum." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/927r9f.

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碩士
國立成功大學
藝術研究所
106
Bernard Berenson(1865-1959), a legendary American connoisseur, has multiple identities as an art historian, art critic as well as art consultant. In this study, I utilized historical and content research to observe the impact of American’s Gilded era on the scholars and to analyze how American’s understanding of Renaissance art was remodeled by collection identification criteria that Berenson respected. Subsequently, this study investigated the background of and reasons for establishing the Isabella Gardner Museum. Through listing the museum collection acquired mainly under the advice of Berenson, this study analyzed the museum’s paintings and the details on how they were purchased. In addition, the correspondence between Berenson and Madam Gardner was arranged and presented to elucidate the shifts of dominance between the art expert and collector during the purchasing process. Besides, from his diaries and related communication records, we studied the art giant’s mental changes and morale issues in the field of art trades, scrutinized his life, rich but confused, and revalued it from every angles. Eventually, we make the conclusion that the surroundings, adequate and rich, provided the man with resources and funds. However, it also threw Bernard Berenson into the dilemma of balancing the credit and prestige as a scholar and connoisseur as well as the benefit from his work as an art consultant.
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Yun, Chung Lo, and 鍾珞筠. "Contemporary Art as a Museum Revitalization Strategy: A Case Study of Artist-In-Residence Program of the Isabella Stewart Gardner Museum." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/93527890982055181013.

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碩士
國立臺灣藝術大學
藝術與文化政策管理研究所
98
Museum resembles organic entity in the natural world and adjusts its functions according to the changing environment. The notion of “museum revitalization” suggests that museums expand utilization of their collection, research and relevant services, and serve as facilitator of a better cultural life for people; what justifies museums as cultural and social institutions lies above. This study departs from exploring how contemporary museums make good use of their resources in the service of bringing new perspectives to their audience, thus, revitalizing the content a museum has to offer. This study commences with the definition of the notion of revitalization, and explores the background of museum revitalization. Continually, the study examines the establishment and changing process of the case of the Isabella Stewart Gardner Museum in Boston, United States, founded in 1903. Furthermore, the study focuses on the intervention of contemporary art in traditional museums as a revitalization strategy, investigating the impact and effect of Gardner Museum’s long-standing “Artist-In-Residence Program” that initiated in 1992, especially in prompting the museum to reflect the contemporary society, to encourage diversified interpretation, and to increase utilization. In analyzing the program, semistructured interviews, observations, and information gathered from documents are utilized as methods of data collecting. The study selects three case studies of artist-residency from the program, and investigates how the untervention of contemporary art influences museum practice, and gradually contributes to the revitalization of the museum. Three findings are drawn from the study: 1) The intervention of contemporary art builds connection between the past and present; artist’s interpretation provides audience a brand new and diversified point of view, while serving the function of aiding audience in understanding and appreciating the content of the museum, guiding and encouraging the thinking and interaction process, stimulating the meaning-making activities in the museum. 2) Artists taking advantage of museum resources transform the content of the museum into living subjects and sources of inspiration, and keep the production of creative outcomes going, while highlighting the social utility of museums to museum managers. 3) Contemporary art enables museums to ponder upon their missions and core values, urging museums to elevate their functions and to renew themselves as the society moves on.
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Lebeau, Justine. "La réactualisation des collections fermées, études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall." Mémoire, 2010. http://www.archipel.uqam.ca/3723/1/M11689.pdf.

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Ce mémoire fait l'analyse du phénomène de réactualisation des collections fermées et de ses stratégies en se basant sur trois études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall. Restreintes par des législations, ces institutions ont développé différentes stratégies leur permettant de réinscrire le contenu de leurs collections fermées à l'intérieur d'enjeux actuels. Dans un premier temps, de la présentation de nos trois études de cas sont apparues des caractéristiques que nous avons réunies pour exposer l'idée de collection fermée et souligner sa valeur esthétique, historique et artistique : les restrictions testamentaires, la vision du collectionneur, l'expérience du visiteur, le type d'accrochage et la mise en exposition des œuvres et des objets. Ces caractéristiques nous ont permis de cerner le contexte à l'intérieur duquel les conservateurs, les directeurs et les commissaires d'exposition interviennent pour réactualiser les paramètres temporels, narratifs et spatiaux de la collection fermée. L'idée de collection fermée est également développée à l'aide de propositions connexes provenant de 1'histoire de l'art et de la culture. Dans un deuxième temps, quatre des principales stratégies de réactualisation ont été dégagées de nos trois cas de figure : la construction d'une nouvelle architecture basée sur la collection fermée, la mise en place de programmes d'artistes en résidence, la création de programmes d'expositions temporaires et l'accumulation d'œuvres à l'intérieur d'une collection parallèle. Ces stratégies permettent une ouverture et une réorganisation des paramètres narratifs, spatiaux et temporels de la collection fermée à partir du présent actuel tout en respectant les restrictions protégeant son intégralité. L'analyse de ces stratégies permet non seulement de marquer les paramètres de la collection fermée sur lesquels la réactualisation s'opère, mais également de mettre en évidence les valeurs esthétiques et conceptuelles des projets d'artistes, architecturaux, d'exposition et de collection menés autour de la collection fermée. Dans un troisième temps, nous avons questionné la constitution et le fonctionnement temporel de la collection fermée et du phénomène de réactualisation pour pointer les changements qui s'opèrent dans le temps sur la collection fermée. De sa constitution par le collectionneur à sa relecture à partir des interventions du présent en passant par son legs restrictif, la collection fermée subit des changements malgré l'immobilité de sa mise en exposition. Enfin, notre recherche ouvre sur de nouvelles hypothèses. La réactualisation serait rendue possible à l'heure actuelle en relation avec une nouvelle conception de l'histoire basée sur une vision anachronique du temps. Cette vision anachronique et son potentiel pour la discipline de l'histoire de l'art développés par Georges Didi-Huberman (2000) nous ont permis d'explorer le phénomène de réactualisation non seulement dans la gestion muséologique des collections qu'il implique, mais également d'en traiter par rapport à la constitution de l'histoire de l'art et du rapport instauré avec le passé. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Collection fermée, Isabella Stewart Gardner Museum, Kettle's Yard Museum & Gallery, New Art Gallery Walsall, réactualisation, exposition
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Books on the topic "Isabella Stewart Gardner"

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Poorvu, William J. Isabella Stewart Gardner Museum. Boston: Harvard Business School, 1994.

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S, Cavallo Adolph, ed. Textiles, Isabella Stewart Gardner Museum. Boston: Trustees of the Museum, 1986.

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Museum, Isabella Stewart Gardner. Fenway Court: Isabella Stewart Gardner Museum. Boston: Trustees of the Isabella Stewart Gardner Museum, 1986.

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T, Goldfarb Hilliard, ed. The Isabella Stewart Gardner Museum: A companion guide and history. Boston: Isabella Stewart Gardner Museum, 1995.

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Museum, Isabella Stewart Gardner, ed. The Gardner Museum Café cookbook. Boston, Mass: Harvard Common Press, 1985.

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Sinclair, Susan. Catalogue of children's books from the Isabella Stewart Gardner Museum Collection and the personal libraries of John Lowell and Isabella Stewart Gardner. Boston, MA: Trustees of the Isabella Stewart Gardner Museum, 1988.

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Museum, Isabella Stewart Gardner. Eye of the beholder: Masterpieces from the Isabella Stewart Gardner Museum. Boston, MA: Isabella Stewart Gardner Museum, 2004.

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1957-, Chong Alan, Lingner Richard, and Zahn Carl, eds. Eye of the beholder: Masterpieces from the Isabella Stewart Gardner Museum. Boston, Mass: Isabella Stewart Gardner Museum, in association with Beacon Press, 2003.

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Shand-Tucci, Douglass. The art of scandal: The life and times of Isabella Stewart Gardner. New York: HarperCollins, 1997.

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Museum, Isabella Stewart Gardner. Cultural leadership in America: Art matronage and patronage / Isabella Stewart Gardner Museum. Boston: the Trustees of the Isabella Stewart Gardner Museum, 1997.

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Book chapters on the topic "Isabella Stewart Gardner"

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Toyota, Yasuhisa, Motoo Komoda, Daniel Beckmann, Marc Quiquerez, and Erik Bergal. "Isabella Stewart Gardner Museum." In Concert Halls by Nagata Acoustics, 111–18. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42450-3_14.

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Docherty, Linda J. "Collection as Creation: Isabella Stewart Gardner’s Fenway Court." In Memory & Oblivion, 217–21. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_26.

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"Letters to Isabella Stewart Gardner." In A History of the Western Art Market, 134–35. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-038.

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Christine, Guth. "Dress, Self-Fashioning and Display at the Isabella Stewart Gardner Museum." In Dress History. Bloomsbury Academic, 2015. http://dx.doi.org/10.5040/9781474240536.ch-007.

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Salmon, Holly. "12. Shedding Light on the History of Lighting at the Isabella Stewart Gardner Museum." In From Darkness to Light, 141–50. Open Book Publishers, 2019. http://dx.doi.org/10.11647/obp.0151.12.

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"‘A Mere Patch of Color’: Isabella Stewart Gardner and the Shattered Glass of Reims Cathedral." In Memory and Commemoration in Medieval Culture, 341–64. Routledge, 2016. http://dx.doi.org/10.4324/9781315594873-26.

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"Rome, London and Boston: Colnaghi, Bernard Berenson and the Sale of Botticelli’s Madonna of the Eucharist to Isabella Stewart Gardner." In Florence, Berlin and Beyond: Late Nineteenth-Century Art Markets and their Social Networks, 79–118. BRILL, 2020. http://dx.doi.org/10.1163/9789004431041_005.

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"Isabella Stewart Gardner’s Museum." In Museum Skepticism, 110–25. Duke University Press, 2006. http://dx.doi.org/10.1215/9780822387572-006.

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"Isabella Stewart Gardner’s Museum." In Museum Skepticism, 110–25. Duke University Press, 2006. http://dx.doi.org/10.2307/j.ctv11314mw.10.

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"6 Isabella Stewart Gardner’s Museum." In Museum Skepticism, 110–25. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822387572-008.

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