Famous Dreyfus Collection Seen At Fogg Museum

Renaissance Art Treasures Placed on View for Short But Outstanding Exhibition in Cambridge

By BORTHA H. WILES

CAMBRIDGE - The first public showing of sculpture from the Gustave Dreyfus collection, made possible through the courtesy of Sir Joseph Duveen, has attracted large crowds to the Fogg Art Museum at Harvard University during the week of February fifteenth. Museum curators, art critics, connoisseurs and students have flocked to Cambridge, eager to see the last of this great private collection of Renaissance treasures.

The works of the Florentine Quattrocento predominate, and even the specialist in this field must be impressed by the wide range of mood and of medium represented in the collection. Donatello's bust of John the Baptist, with its ascetic, visionary, and austerely beautiful head, is a fine example of the master's genius. Verrocchio's portrait of Giuliano de' Medici, with its lively and alert expression, is a remarkable example of the artist's skill. The delicate and sensitive bust of the child Jesus, attributed to Desiderio da Settignano, is another highlight of the exhibition.

In the field of relief the range is equally great. Three works in this medium in a row afford interesting contrasts. We have, first, from Desiderio's shop, the “Young Jesus with St. John the Baptist,” where the relief is so faint that the figures seem to be lightly sketched on the marble, to his “Madonna and Child with Angels,” in which the varying degrees of relief are handled with the masterly characteristic of his use of relief. Finally, we come to Antonio Rossellino's “Relief of the Madonna and Child,” which, in spite of the beauty of the types, suffers by juxtaposition to the work of such a consummate artist.

Luca della Robbia is represented not only by a typical “Madonna and Child” in the blue and white of the enamelled terra cotta, but by two delicate unglaized reliefs, of a freshness possible only in that medium. The head of the Madonna and Child with Angels is particularly lovely. In Antonio Rossellino's portrait of the same subject in terra cotta, the higher relief and fuller forms of the later Quattrocento appear.

In addition to the works by Florentine masters there are four marble reliefs by the Venetian Giovanni di Francesco, including the delicate portrait of Eleanor of Aragon by Sperandio. Of the two little French statues in the collection, the marble “Virgin and Child” of the XV century, with its delicate modeling and its rich gold, is a fine example of the Burgundian school of the period.

The range of medium is widened by the inclusion in the exhibition of a number of bronzes, in which the Dreyfus collection is particularly rich. Among them are a number of bronze plaques, including a fine group of small bronzes, chiefly in the manner of Riccio, there is a small bronze of Donatello, and a group of small bronzes of the school of the great master.

In America, even more than in Europe, the appreciation of sculpture has lagged behind that of painting. As a consequence, there has been a dearth of Italian Renaissance sculpture in American museums and collections, although it is well represented. While notable private collections in this field have been formed in this country, the Fogg is the first to bring to the public the works of the great masters of the Renaissance. The exhibition at the Fogg Museum is a notable event in the history of American art. The passage of the Dreyfus collection into American hands is a great event in the annals of American connoisseurship.

The image is a page from a newspaper dated February 20, 1932, titled "Art News." The article focuses on a notable exhibition at the Fogg Museum in Cambridge, showcasing the famous Dreyfus collection of Renaissance art.

Key Points:

1. Article Title:

   • "Famous Dreyfus Collection Seen at Fogg Museum"

2. Context and Introduction:

   • The article highlights the first public exhibition of sculptures from the Gustave Dreyfus collection, made possible by Sir Joseph Duveen.
   • It attracted large crowds at Harvard University during the week of February 15th, 1932.

3. Description of Exhibits:

   • The exhibition includes a variety of Renaissance sculptures, predominantly from the Florentine Quattrocento period.
   • The works are diverse in style, material, and medium, including marble, bronze, and terra cotta.

4. Specific Works Highlighted:

   • Desiderio da Settignano's "Young Jesus with Saint John" – Known for its delicate relief work.
   • Luca della Robbia’s "Madonna and Child" – Demonstrates a mastery of terra cotta relief, with two versions of the same subject.
   • Antonio Rossellino’s "Madonna and Child" – A notable example of the artist’s work.
   • Verrocchio’s "David" – Known for its realistic portrayal.
   • Giuliano del Medico’s bronze portrait – Displayed in the same medium, highlighting the craftsmanship.
   • Aragon’s portrait of Eleanor of Aragon – An example of the Renaissance portraiture.
   • Sperandio’s bronze statues – Two French statues, one of which is the "Saint Anthony."
   • Bronze plaques and reliefs – Showcasing the variety in the mediums and styles.

5. Significance and Reception:

   • The exhibition is noted for offering a rare opportunity for American viewers to see such distinguished examples of Renaissance sculpture.
   • The article suggests that the range and quality of the exhibits have made this a significant event for American connoisseurs.

6. Additional Context:

   • The article mentions the historical context and appreciation of Italian Renaissance sculpture in America, noting the recent additions to the museum collections.

Overall, the page is a detailed account of an important exhibition, celebrating the artistry and historical significance of the Renaissance sculptures from the Dreyfus collection.

The image is a newspaper clipping from "Art News" dated February 20, 1932. The article, titled "Famous Dreyfus Collection Seen At Fogg Museum," describes a special exhibition of Renaissance art treasures from the Gustave Dreyfus collection, which were placed on public view at the Fogg Art Museum at Harvard University.

The exhibition was curated by Sir Joseph Duveen and featured a variety of sculptures and reliefs, predominantly from the Florentine Quattrocento period. The article highlights several notable pieces, including a polychrome terra cotta bust of John the Baptist by Donatello, Verrocchio's "David," and a marble bust of Giovanni Degli Albizzi. The exhibition also included works by Luca della Robbia, Antonio Rossellino, and other renowned artists.

The text notes that the works range widely in medium, including marble, bronze, terra cotta, and gold, and emphasizes the rarity of such a comprehensive collection being available for public viewing in America. It also mentions that the exhibition was significant for American connoisseurship, as it offered an opportunity to see these masterpieces up close.

The article concludes by mentioning that the Dreyfus collection's passage into American hands was a notable event for American art appreciation.

The image is a clipping from the February 20, 1932, issue of "Art News." It features an article titled "Famous Dreyfus Collection Seen at Fogg Museum," written by Bertha H. Wiles. The article discusses an exhibition of Renaissance art treasures from the Gustave Dreyfus collection, which was temporarily placed on view at Harvard University's Fogg Art Museum in Cambridge.

Key points from the article include:

1. Exhibition Details:

   • The exhibition showcased a variety of sculptures from the Dreyfus collection, including works by renowned artists like Donatello, Verrocchio, Desiderio da Settignano, and others.
   • The collection included notable pieces such as a polychrome terracotta bust of John the Baptist by Donatello, a portrait of Giuliano de' Medici by Verrocchio, and a marble bust of a Florentine lady by Giovanni Degli Albizzi.

2. Artistic Highlights:

   • The article emphasizes the high quality and variety of the works, highlighting the craftsmanship and artistic styles.
   • It mentions a range of media and techniques, including marble, terracotta, bronze, and reliefs.
   • Specific works discussed include a tender "Madonna and Child" by Antonio Rossellino, a portrait of Eleanor of Aragon by Sperandio, and a "Saint Jerome" by an unknown artist.

3. Significance:

   • The article notes the rarity of such a comprehensive collection of Renaissance sculptures being displayed in America.
   • It also mentions that the exhibition provided an opportunity for Americans to appreciate the high level of Renaissance sculpture, which had been less celebrated compared to painting.
   • The passage of the Dreyfus collection into American hands was considered a significant event in the field of art connoisseurship.

The exhibition was a significant cultural event, drawing large crowds and providing a rare opportunity for viewers to see a broad range of Renaissance sculptures.

The image is a newspaper clipping from the "Art News" dated February 20, 1932. The article is titled "Famous Dreyfus Collection Seen At Fogg Museum" and is authored by Bertha H. Wiles.

Summary of the Article:

Headline:

• Famous Dreyfus Collection Seen At Fogg Museum

Subheading:

• Renaissance Art Treasures Placed on View for Short But Outstanding Exhibition in Cambridge

Main Content:
The article discusses a public exhibition of the Gustave Dreyfus collection at the Fogg Art Museum at Harvard University. This exhibition has drawn large crowds during its brief showing in February.

Key Points:

1. Significance of the Collection:

   • The Dreyfus collection is noted for its remarkable sculptures, particularly Renaissance works.
   • The collection showcases a wide range of media, including marble, terra cotta, bronze, and wood.

2. Exhibits and Artists:

   • Florentine Quattrocento: Dominates the exhibition.
   • Donatello’s Works: Includes his polychrome terra cotta bust of John the Baptist and other significant pieces.
   • Other Notable Works: Includes pieces by Verrocchio, Antonio Rossellino, and a "Madonna and Child" by Mino da Fiesole.
   • Sculptures: Feature the works of Giovanni della Robbia and Andrea della Robbia.
   • Medallions and Reliefs: By artists like Pisanello, Niccolò Fiorentino, and Matteo de’ Pasti.

3. Special Highlights:

   • A rare terra cotta relief by Luca della Robbia, depicting "Madonna and Child."
   • A notable "Young Jesus with St. John the Baptist" by an unidentified artist.
   • The exhibition provides a juxtaposition of various Renaissance art forms, emphasizing the charm and types of sculptures.

4. Comparison with European Collections:

   • The article mentions that America has seen few sculptures compared to Europe.
   • The exhibition offers a unique opportunity to view a comprehensive collection of Renaissance sculptures.

5. Public and Academic Interest:

   • The exhibition has attracted museum curators, artists, connoisseurs, and students from across Cambridge.
   • It is considered a rare opportunity to see such a distinguished collection of Renaissance art in America.

Conclusion:

The article underscores the historical and artistic importance of the Dreyfus collection and the unique opportunity it presents for both the public and scholars to view Renaissance masterpieces in the United States. The exhibition at the Fogg Museum is a significant event in the annals of American connoisseurship.

The image is a newspaper article from "Art News" dated February 20, 1932. The headline reads "Famous Dreyfus Collection Seen At Fogg Museum." The article discusses an exhibition of Renaissance art treasures from the Gastave Dreyfus collection, made possible through the courtesy of Sir Joseph Duveen and displayed at the Fogg Art Museum at Harvard University.

Key points from the article include:

1. Exhibition Details: The exhibition took place during the week of February 20, 1932, and was open to the public.

2. Collection Highlights: The collection includes distinguished examples of sculpture, such as works by the Florentine Quattrocento, Verrocchio, and Donatello. Notable pieces include busts of John the Baptist, a bronze David by Verrocchio, and a bust of Girolamo Savonarola by Mino da Fiesole.

3. Mediums and Styles: The exhibition showcases a variety of mediums including marble, bronze, and terra cotta. The article highlights the subtle modeling and sensitive contours of the sculptures.

4. Comparison to Painting: The article notes that in America, sculpture has often been overshadowed by painting, but this exhibition aims to highlight the beauty and craftsmanship of Italian Renaissance sculpture.

5. Significance: The exhibition is significant as it is one of the few opportunities for the public to view such a comprehensive collection of Renaissance sculpture. The article emphasizes the importance of acquiring and preserving such artworks for future generations.

Overall, the article praises the exhibition for its variety and the high quality of the sculptures, encouraging the public to appreciate and support the acquisition of such art treasures.

The image contains a full-page article from what appears to be a newspaper or magazine. The header indicates that it is from "Art News Feb. 20, 1932." The title of the article is "Famous Dreyfus Collection Seen at Fogg Museum," followed by a subtitle "Renaissance Art Treasures Placed on View for Short But Outstanding Exhibition in Cambridge."

The article includes several paragraphs of text arranged in two columns. It discusses the Dreyfus collection of sculptural art from the Renaissance, being showcased at the Fogg Art Museum at Harvard University. It mentions various artists, sculptures, and specifics about the pieces of art, reflecting the range and significance of the exhibition.

The page shows some signs of aging, with yellowing paper and slightly frayed edges, suggesting this is a physical document that has been scanned or photographed. There is a handwritten notation at the top left that could possibly be related to cataloging or referencing the article ("j7").

The image is a page from what appears to be an old magazine or newspaper. The top of the page is inscribed with handwriting that reads, "Art News Feb. 20, 1932." The main article on the page is titled, "Famous Dreyfus Collection Seen At Fogg Museum," written by Bertha H. Wiles.

The article highlights the first public showing of sculptures from the Gustave Dreyfus collection displayed at the Fogg Art Museum at Harvard University. It mentions that the exhibition features Renaissance art treasures and has attracted large crowds. The sculptures include works from notable artists such as Donatello, Mino da Fiesole, and Antonio Rossellino, and feature a range of pieces from relief work to portraiture. The article notes the rarity and quality of these art pieces, and how the exhibition is a significant event in art connoisseurship.

The page has aged edges and some visible wear, indicating it has been preserved or archived.

The image is of a newspaper clipping. The clipping is from Art News, dated February 20, 1932. The clipping discusses an exhibition of the Dreyfus Collection of Renaissance sculpture at the Fogg Art Museum at Harvard University. The exhibition attracted large crowds during its run from February 15 to February 20. The collection includes works by artists like Donatello, Verrocchio, and Michelangelo. The article highlights the importance of the collection for American connoisseurship and the appreciation of sculpture.

The image depicts a page from a newspaper or magazine, specifically an article titled "Famous Dreyfus Collection Seen At Fogg Museum." The article is written by Bertha H. Wiles and is dated February 30, 1932.

The layout of the page is straightforward, with a single column of text. The text is organized into several paragraphs, discussing the exhibition of Renaissance art treasures at the Fogg Museum in Cambridge.

The article highlights the significance of the Dreyfus collection, noting that it is the first public showing of sculptures from the collection since it was dispersed. The exhibition attracted large crowds during its run in February, drawing art critics, connoisseurs, and students to the museum.

The author describes the collection as one of the finest private collections of Renaissance sculpture before its dispersal. The article praises the variety and quality of the sculptures on display, mentioning works by Florentine Quattrocento artists, Donatello, Verrocchio, Giambologna, Pisanello, and others.

The text also discusses the mediums used in the sculptures, noting the presence of bronze, marble, and terra cotta pieces. The author highlights specific works, such as Donatello's polychromed terra cotta bust of John the Baptist and Verrocchio's bold and forceful portrait of Giuliano del Medici.

The article emphasizes the importance of the Dreyfus collection as a valuable resource for museum curators and art enthusiasts, showcasing the variety and vitality of Renaissance sculpture. The exhibition at the Fogg Museum is described as a great event in American art connoisseurship.