The Italian Presence in American Art, 1860-1920

By Irma B. Jaffe | Go to book overview
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108. Freer Gallery. Courtyard, ca. 1923(photo:Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.).

J. Ackerman, The Cortile del Belvedere, Rome, 1954, 117-19.
C. L. V. Meeks, Italian Architecture: 1750-1914, New Haven, 1966, 26.
"L'ensemble sera avant tout un muséum, mais dans lequel il fera bon vivre." A. Gruber, "La Villa Albani vue par un artiste du XVIIIe siècle," Piranèse et les Français, Rome, 1976, 282.
Meeks (as in note 2), 72-78; C. Pietrangeli, I musei vaticani: cinque secoli di storia, Rome, 1985, 39ff.: S. Howard , "An Antiquarian Handlist and the Beginnings of the Pio-Clementino in Rome," Eighteenth-Century Studies, VII, 1973, 40-61.
J.-N.-L. Durand, Précis de leçons II, Paris, 1802-1805.
See R. G. Wilson, D. H. Pilgrim, R. N. Murray, The American Renaissance, 1876-1917, Exhibition Catalogue, The Brooklyn Museum, Brooklyn, N.Y., 1979.
S. Landau, P. B. Wight: Architect, Contractor, and Critic, 1838-1925, Chicago, 1981, 16-21.
M. H. Floyd, "A Terra-Cotta Cornerstone for Copley Square: Museum of Fine Arts, Boston," Journal of the Society of Architectural Historians, XXXII, 1973, 90-103.
J. Darragh, "The Brooklyn Museum: Institution as Architecture, 1934-1936," A Netv Brooklyn Museum: The Master Plan Competition, New York, 1988, 52-71.
L. Roth, "McKim, Mead and White and the Brooklyn Museum, 1893-1934," ibid., 34-51.
S. Stein, The Architecture of Richard Morris Hunt, Chicago, 1986, 147, 179-85.
C. Moore, Daniel Burnham, Architect: Planner of Cities, Boston, 1921, 67.
C. Moore, The Life and Times of Charles FollenMcKim


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