Bernard Berenson

Bernard Berenson

Bernard Berenson (born June 26, 1865 Butrimonys (now in Alytus district of Lithuania) – October 6, 1959 Florence Italy) was an American art historian specializing in the Renaissance. He was a major figure in establishing the market for paintings by the "Old Masters".

Personal life

Berenson was born Bernhard Valvrojenski in a Jewish family that emigrated to Boston, Massachusetts from the Vilna Governorate of the Russian Empire in 1875, whereupon the family name was changed to "Berenson." The family was thought to be related to Isaac Abrabanel.Fact|date=June 2008

He attended the Boston University College of Liberal Arts as a Freshman during 1883-84, but, unable to obtain instruction in Sanskrit from that institution, transferred to Harvard University for his sophomore year. [ Boston University College of Liberal Arts Class of 1887 50th Anniversary Memory Book, published 1937 ] He graduated from Harvard University and married Mary Smith, who became a notable art historian in her own right. Mary was the sister of Logan Pearsall Smith and of Alys Pearsall Smith, the first wife of Bertrand Russell. Mary had previously been married to barrister Frank Costelloe. Bernard Berenson was also involved in a long relationship with Belle da Costa Greene. Samuels (1987) mentions Mary's "reluctant acceptance (at times)" of this relationship.

Among his more surprising friendships was a long one with the American writer Ray Bradbury, who wrote about their friendship in The Wall Street Journal and in his book of essays, Yestermorrow. He was also a close friend and admirer of Natalie BarneyFact|date=August 2008.

His great-great-niece, Marisa Berenson, is an actress. Her sister, Berry Berenson, was an actress/photographer, and the wife of actor Anthony Perkins. Berry died in the September 11, 2001 attacks in New York.

Professional life

Among U.S. collectors of the early 1900s, Berenson was regarded as the pre-eminent authority on Renaissance art. His verdict of authenticity increased a painting's value. While his approach remained controversial among European art historians and connaisseurs, he played a pivotal role as an advisor to several important American art collectors, such as Isabella Stewart Gardner, who needed help in navigating the complex and treacherous market of newly fashionable Renaissance art. In this respect Berenson's influence was enormous, while his 5% commission made him a wealthy man. Starting with his "The Venetian Painters of the Renaissance with an Index to their Works" (1894), his mix of connoisseurship and systematic approach proved immensely successful. In 1895 his "Lorenzo Lotto, an Essay on Constructive Art Criticism" won wide critical acclaim, notably by Heinrich Wölfflin. It was quickly followed by "The Florentine Painters of the Renaissance" (1896), that was lauded by William James for its innovative application of "elementary psychological categories to the interpretation of higher art". In 1897 Berenson added another work to his series of scholarly yet handy guides publishing "The Central Italian Painters of the Renaissance". After that he devoted six years of pioneering work to what is widely regarded as his deepest and most substantial book, "The Drawings of the Florentine Painters", which was published in 1903. In 1907 he published his "The North Italian Painters of the Renaissance", where he expressed a devastating and still controversial judgement of Mannerist art, which may be related to his love for Classicism and his professed distaste for Modern Art. His early works were later integrated in his most famous book, "The Italian Painters of the Renaissance" (1930), which was widely translated and reprinted. He also published two volumes of journals, "Rumor and Reflection" and "Sunset and Twilight". He is also the author of "Aesthetics and History" and "Sketch for a Self-portrait". His beautiful residence in Fiesole near Florence, which has been called 'I Tatti' since at least the 17th century, is now the Harvard Center for Renaissance Studies. It houses his art collection and his personal library of books on art history and humanism, which Berenson regarded as his most enduring legacy. A spirited portrait of daily life at the Berenson "court" at I Tatti during the 1920s may be found in Sir Kenneth Clark's 1974 memoir, "Another Part of the Wood". 'During WW2, barely tolerated by the Fascist authorities and, later on, by their German masters, Berenson remained at "I Tatti". When the frontline reached it at the end of the summer of 1944 he wrote in his diary, "Our hillside happens to lie between the principal line of German retreat along the Via Bolognese and a side road...We are at the heart of the German rearguard action, and seriously exposed.". Remarkably, under his supervision the villa remained unharmed. Also unharmed was the bulk of his collections, which had been moved to a villa at Careggi. However, Berenson's Florence apartment in the Borgo San Jacopo was destroyed with some its precious contents during the German retreat from Florence [ [ WORKS OF ART IN ITALY, losses and survival, London 1945] "compiled from War Office Reports of the British Committee on the Preservation and Restitution of Works of Art, Archives and Other Material in Enemy Hands", in Engramma n. 61 (freely available online)] .

Through a secret agreement in 1912, Berenson enjoyed a close relationship with Joseph Duveen, the period's most influential art dealer, who often relied heavily on Berenson's opinion to complete sales of works to prominent collectors who lacked knowledge of the field. Berenson was quiet and deliberating by nature, which sometimes caused friction between him and the boisterous Duveen. Their relationship ended on bad terms in 1937 after a dispute over a painting, the "Allendale Nativity" (a.k.a. the "Adoration of the Shepherds" now at the National Gallery in Washington), intended for the collection of Samuel H. Kress. Duveen was selling it as a Giorgione, but Berenson believed it to be an early Titian. The painting is now widely considered to be a Giorgione. Beside assisting Duveen, Berenson also consulted for other important art dealerships, such as London's Colnaghi and, after his breakup with Duveen, New York's Wildenstein.

In 1923, Berenson was called to give expert witness in a famous case brought by Andrée Hahn against Duveen. In 1920 Hahn wanted to sell a painting ( [] , bottom of the page) that she believed to be a version of Leonardo's "La belle Ferronière" and whose authorship is still debated. Duveen publicly rejected Hahn's Leonardo attribution of the painting, which he had never seen. Consequently, Hahn sued him. In 1923 Hahn's painting was brought to Paris to be compared with the Louvre version. Duveen mustered Berenson's and other experts' support for his opinion, dismissing Hahn's painting as a copy. At the trial in New York in 1929, where the expert witnesses did not appear, the jury was not convinced by Berenson's Paris testimony, in part because, while under cross-examination there, he had been unable to recall the medium on which the picture was painted. It was also revealed that Berenson, as well as other experts who had testified in Paris, such as Roger Fry and Sir Charles Holmes, had previously provided paid expertises to Duveen. While Duveen, after a split verdict, ended up settling out of court with Hahn, the whole story damaged Berenson's reputation.

As Renaissance scholarship has evolved, a number of Berenson's attributions are now believed to be incorrect. There is also ongoing speculation as to whether some of these misattributions were deliberate, since Berenson often had a considerable financial stake in the matter. Due to the strong subjective element in connoisseurship, such accusations remain hard to either disprove or substantiate.


2006 saw the publication of Berenson's voluminous correspondence with the noted British historian Hugh Trevor-Roper in the period 1947-1960, in the form of a book entitled "Letters from Oxford: Hugh Trevor-Roper to Bernard Berenson", edited by Richard Davenport-Hines, published by Weidenfeld & Nicholson.


* "Venetian Painters of the Renaissance" (1894)
* "Lorenzo Lotto: An Essay in Constructive Art Criticism" (1895)
* "Florentine Painters of the Renaissance" (1896)
* "Central Italian Painters of the Renaissance" (1897)
* "The Sense of Quality: Study and Criticism of Italian Art" (1901; second series, 1902)
* "The Drawings of the Florentine Painters" (1903), his masterpiece []
* "North Italian Painters of the Renaissance" (1907)
* "A Sienese Painter of the Franciscan Legend" (1910)
* "Venetian Painting in America: The Fifteenth Century" (New York, 1916)
* "Essays in the Study of Sienese Painting" (New York, 1918)
* "Rumor and Reflection" (New York, 1952)
* "Seeing and Knowing" New York Graphic Society, Ltd., (1953)
* "The Passionate Sightseer" (New York, 1960)
* "Sunset and Twilight" (New York, 1963)

Most of his books were published in the United States and went through many editions.

External links

* [ Villa I Tatti and Bernard Berenson]


*S.N. Behrman (1951-52) "Duveen"
*Kenneth Clark (1974) "Another Part of the Wood"
*Ernest Samuels (1979) "Bernard Berenson: The Making of a Connoisseur"
*Ernest Samuels (1987) "Bernard Berenson: The Making of a Legend"
*Colin Simpson (1986) "Artful Partners: Bernard Berenson and Joseph Duveen"
*Mary Ann Calo (1994) "Bernard Berenson and the Twentieth Century"
*J. Pope-Hennessy (1988) "Bernard Berenson" in "Dizionario Biografico degli Italiani", 34.
*William Weaver (1997) "A Legacy of Excellence: The Story of Villa I Tatti"
*Simon Gray's play "The Old Masters" (2004), in which Berenson is a leading character

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