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001			77067
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005			20260610134802.0
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008			260607r20251929utu|||||o|||||||||||||| d
010			_a29002799
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aND
100	1		_aSingleton, Esther, _d1865-1930
245	1	0	_aOld world masters in new world collections
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_a"... Treating of old masters in private collections ... in America."--Preface
500			_aRelease date is 2025-10-16
508			_aKarin Spence and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"Old World Masters in New World Collections" by Esther Singleton is an illustrated art history survey and catalogue written in the early 20th century. It documents European Old Master paintings that entered American private collections, blending brief school overviews with focused entries on individual works, their provenance, former owners, and aesthetic qualities. The volume foregrounds beauty, downplays martyrdom and violence, and underscores the roles of prominent collectors and dealers—especially Sir Joseph Duveen—in shaping America as a new repository of masterpieces. The opening of this volume presents a preface asserting the book’s novelty and scope, crediting American collectors and Duveen’s influence, listing celebrated works with illustrious provenances, arguing for the superior selectiveness of American collections, and declaring a “Beauty”-driven selection while noting extraordinary valuations. It then outlines the contents by national schools and begins with a clear, contextual primer on Sienese painting as a refined Gothic offshoot with Byzantine and possible Oriental affinities. Early entries describe Sassetta’s St. Francis scenes, Matteo di Giovanni’s brocaded Madonna, and Benvenuto di Giovanni’s lively Adoration, each with vivid formal analysis and ownership history. A broader Florentine survey follows—linking Cimabue, Giotto, guilds, and Medici patronage to the Renaissance—before concise entries on a Giotto Madonna, Masolino’s architectural Annunciation, Fra Angelico’s angel and Virgin diptych and a Cosmas-and-Damianus predella scene, and a Fra Filippo Lippi Madonna, all characterized by precise iconography, technique, and provenance. (This is an automatically generated summary.)
534			_pOriginally published: _cNew York: The Macmillian Company, 1929
653			_aPainting, European
653			_aPainting -- Private collections -- United States
856	4		_uhttps://archive.org/details/oldworldmastersi0000esth/page/n7/mode/2up
856	4	0	_uhttps://www.gutenberg.org/ebooks/77067
999			_c117791 _d117791