| Abstract |
"The relationship American impressionist painters had with Italy, particularly with Florence, was very intense between the mid nineteenth century and the start of the twentieth. After the Civil War, hundreds of painters came to Italy. Florence, Venice and Rome had by long tradition been the centre of the Grand Tour and were places made legendary by those who wanted to know and study the art of the past, while also exercising a powerful fascination because of their climate, landscape, atmosphere and people. The catalogue features painters who, though not explicitly adhering to the new impressionist language, were fundamental examples for the younger generations, including Winslow Homer, William Morris Hunt, John La Farge and Tomas Eakins. They were followed by great precursors such as John Singer Sargent, Mary Cassatt and James Abbott McNeill Whistler, who could lay claim to considerable cosmopolitanism. The heart of the book will consist of works by artists who stayed in Florence, among whom were some genuine exponents of the American impressionist group, the Ten American Painters (William Merrit Chase, John Henry Twachman, Frederick Childe Hassam), and by Franck Duveneck, who played a particularly important role in the relations between American and local artists, gathering a school around himself, the so-called 'Duveneck boys'. The link between the activity of the Americans in Florence and their compatriot intellectuals, collectors, writers and art critics will also be studied: Gertrude Stein, Mabel Dodge, Bernard Berenson, the brothers Henry and William James, Egisto Fabbri and his family, Mabel Hooper La Farge, Bancel La Farge, Charles Loeser and Edith Wharton."--Publisher's website. |
