Описание: Paintings of ruined cathedrals, tales of horror, and nationalist claims to medieval origins for language, law, and cultural
patrimony--these mark the beginning of the re-invention of
the Gothic that was to become key to the Romantic
Movement of the early 19th century. By contrast, t in the U.S.,
it was only after the Civil War, the spread of Ruskins teachings,
and the emergence of Gilded Age wealth that art collectors
developed a taste and an interpretation for artefacts
previously consigned to a Dark Age of blind faith and alien
codes of representation. In this highly original book, a team of
international experts trace the history of the first sizable
collection of Gothic art brought from Paris to the U.S.
Though it first belonged to Alva Vanderbilt (the Commodores
daughter-in-law), it was sold to John Ringling in 1927 and is
now part of the Ringling Museum. The essays explain why
early Italian paintings, including a masterpiece by Piero di
Cosimo, could be regarded as Gothic rather than as
Renaissance and show how 19th-century installations of the
objects enveloped them in an atmosphere of mystery and
ancient privilege. of mystery a wealth and privilege. A catalogue
with color illustrations of every object in the collection
makes this book indispensable to Museum visitors as well as
to scholars of medieval art, medieval revivals, and the history
of collecting.
