22:
96:, using the Morellian method, the art historian operates in the manner of a detective, "each discovering, from clues unnoticed by others, the author in one case of a crime, in the other of a painting". Cruttwell's subsequent works on artists all "open with a chapter on the 'characteristics' of the old master in question, a procedure that discloses her allegiance to the 'scientific method' of connoisseurship" and which clearly displays her as a disciple of Morelli and Berenson. Reminiscing in his autobiography about Florence at the turn of the twentieth century, the artist
226:
noted that her books on
Italian artists, though written "many years ago are still valued as standard works." In recent years interest in Cruttwell has rekindled as part of the growing recognition of the work of female art scholars from the late 19th century onwards.
87:
and was later able to marry
Berenson when her former husband died in 1900; she became a friend and supporter of Crutwell. Through Costelloe, Cruttwell met with Berenson and became a member of his student circle, studying art history on the analytical principles of
100:
wrote in 1932, comparing the city with its mediaeval past: "There were armed camps and fierce rivalries in
Florence then, as in past times; but the fighting was far less bloody, concerned as it was with attributions rather than with ducal thrones. Berenson,
209:, whose heroine, clearly based on the author, adores beauty and Italian art, determines never to marry, and befriends a couple evidently based on the Berensons. Cruttwell continued to live in Paris but her only further publications were biographies of the
145:. Her work on this book involved extensive research in collections throughout Europe, and led to her reassigning many attributions. The book was generally well received, although it was heavily criticized by the anti-Morrellian art historian
157:(1907) (of which Bode wrote a further severe review) were issued by a publisher (Arthur Strong) who had quarrelled with Berenson, but Cruttwell sought successfully to ensure that her good relationship with the Berensons continued.
204:
loathing men and adoring women." In 1908 she commented that
Cruttwell dressed in "a loud, improper way" and on a visit in 1912 Cruttwell appeared to her overweight and "vulgarly dressed." In 1913 Cruttwell published a novel
83:; from 1894 Cruttwell became Costelloe's housekeeper, in return for instruction in Italian Renaissance art. Costelloe, a talented art historian like Berenson, lived in Florence close to Berenson's
32:(1859 - 25 April 1939) was an English artist, art historian, writer and biographer. Her books on Italian Renaissance artists were pioneering examples of the analytical critical style of
217:(1929). By this time she was writing to Paget (letter of 3 December 1929) of "that hideous Berenson element, pretentious & false even to the art they pretend to care for."
214:
210:
188:
Cruttwell was associated with some notable feminist and lesbian personalities of her period; apart from Paget and Mary
Berenson, she was a regular correspondent of
21:
52:
in 1859 to the solicitor Wilson
Clement Cruttwell and his wife Georgiana (née Daniel), the eleventh and youngest of eleven children. Her older brother was
652:
642:
612:
672:
657:
647:
622:
514:
632:
667:
627:
662:
200:. From 1907 onwards she seems to have 'come out'. In 1907 Mary Berenson noted in her diary that Cruttwell was " a maniac
637:
56:, resident engineer responsible for the building of Tower Bridge. According to Cruttwell's friend the art historian
617:
75:(who published under the name Vernon Lee). In 1893, Paget, with whom she was travelling, introduced Cruttwell in
154:
189:
150:
67:
exhibitions and other London galleries in the early 1890s. In this she was encouraged by the art critic
64:
607:
602:
180:(eventually published in 1911), as she intended to relocate to Paris and pursue "modern journalism".
68:
138:
97:
581:
546:
176:(1909). In 1907 Cruttwell wrote to the Berensons that she was writing her final book on art, on
497:
Ginzburg, Carlo (1984), "Morelli, Freud, and
Sherlock Holmes: Clues and Scientific Method", in
25:
Frontispiece of Maud
Cruttwell's book "Luca and Andrea della Robbia and Their Successors", 1902
510:
142:
571:
536:
146:
89:
57:
53:
37:
33:
197:
130:
126:
121:
In 1897 Cruttwell began to publish articles on
Renaissance art in art journals; her first
193:
106:
93:
596:
585:
550:
502:
102:
84:
80:
525:"Maud Cruttwell and the Berensons: 'A preliminary canter to an independent career'"
509:, Bloomington, IN: History Workshop, Indiana University Press, pp. 81–118,
498:
337:
Rothenstein, "Men and
Memories" (1932), p. 122, cited in Ventrella (2019), p. 1
137:(London, 1902), she demonstrated the difference and superiority of the work of
110:
72:
222:
177:
122:
76:
166:
A Guide to the Paintings in the Churches and Minor Museums of Florence
576:
560:"Writing Under Pressure: Maud Cruttwell and the Old Master Monograph"
559:
541:
524:
169:
113:, Maud Cruttwell, all had their mercenaries — and their artillery."
129:, was published in London in 1899. This was followed by a work on
49:
20:
220:
Cruttwell died in Paris on 25 April 1939; her obituary in
453:
451:
71:, who also introduced Cruttwell to the writer and critic
564:
Interdisciplinary Studies in the Long Nineteenth Century
529:
Interdisciplinary Studies in the Long Nineteenth Century
297:
295:
246:
244:
63:
She began her career as an artist, exhibiting at the
162:
A Guide to the Paintings in the Florentine Galleries
16:
English artist, art historian, writer and biographer
135:Luca and Andrea della Robbia and their Successors
160:There followed two books on art in Florence (
8:
575:
540:
481:
469:
394:
382:
301:
274:
262:
507:The Sign of Three: Dupin, Holmes, Peirce
457:
442:
430:
418:
406:
370:
358:
346:
325:
313:
286:
250:
60:"her mother was a full-blooded Jewess".
240:
7:
653:20th-century English women writers
643:19th-century English women writers
141:as compared to that of his nephew
133:(London, 1901). In her third book
14:
613:English people of Jewish descent
1:
673:19th-century English painters
558:Ventrella, Francesco (2019).
523:Johnston, Tiffany L. (2019).
658:20th-century English writers
648:19th-century English writers
623:British women art historians
184:Life, fiction and biography
48:Maud Cruttwell was born in
689:
174:Venice and her Treasures
168:(1908)), and a guide to
149:. Her next two books on
633:English women novelists
668:English women painters
628:English art historians
79:to Berenson's consort
26:
44:From artist to critic
24:
663:English LGBT writers
385:, p. 11, 14-15.
211:Princesse des Ursins
638:English biographers
215:Madame de Maintenon
139:Andrea della Robbia
98:William Rothenstein
92:. In the words of
27:
618:People from Frome
516:978-0-253-35235-4
680:
589:
579:
577:10.16995/ntn.831
554:
544:
542:10.16995/ntn.821
519:
485:
484:, p. 4, 11.
479:
473:
467:
461:
455:
446:
445:, p. 16-17.
440:
434:
428:
422:
421:, p. 14-15.
416:
410:
409:, p. 12-14.
404:
398:
392:
386:
380:
374:
368:
362:
356:
350:
344:
338:
335:
329:
323:
317:
311:
305:
299:
290:
284:
278:
272:
266:
260:
254:
248:
147:Wilhelm von Bode
90:Giovanni Morelli
69:Julia Cartwright
58:Bernard Berenson
54:Edward Cruttwell
38:Bernard Berenson
34:Giovanni Morelli
688:
687:
683:
682:
681:
679:
678:
677:
593:
592:
557:
522:
517:
496:
493:
488:
480:
476:
472:, p. 26-7.
468:
464:
456:
449:
441:
437:
429:
425:
417:
413:
405:
401:
393:
389:
381:
377:
369:
365:
357:
353:
345:
341:
336:
332:
324:
320:
312:
308:
300:
293:
285:
281:
273:
269:
261:
257:
249:
242:
238:
233:
198:Alice B. Toklas
190:Ottoline Morell
186:
127:Luca Signorelli
119:
117:Writings on art
46:
30:Maud Cruttwell
17:
12:
11:
5:
686:
684:
676:
675:
670:
665:
660:
655:
650:
645:
640:
635:
630:
625:
620:
615:
610:
605:
595:
594:
591:
590:
555:
520:
515:
492:
489:
487:
486:
482:Ventrella 2019
474:
470:Ventrella 2019
462:
447:
435:
423:
411:
399:
395:Ventrella 2019
387:
383:Ventrella 2019
375:
363:
361:, p. 8-9.
351:
349:, p. 6-7.
339:
330:
318:
306:
302:Ventrella 2019
291:
289:, p. 1-4.
279:
275:Ventrella 2019
267:
263:Ventrella 2019
255:
239:
237:
234:
232:
229:
207:Fire and Frost
194:Gertrude Stein
185:
182:
118:
115:
94:Carlo Ginzburg
81:Mary Costelloe
45:
42:
15:
13:
10:
9:
6:
4:
3:
2:
685:
674:
671:
669:
666:
664:
661:
659:
656:
654:
651:
649:
646:
644:
641:
639:
636:
634:
631:
629:
626:
624:
621:
619:
616:
614:
611:
609:
606:
604:
601:
600:
598:
587:
583:
578:
573:
569:
565:
561:
556:
552:
548:
543:
538:
534:
530:
526:
521:
518:
512:
508:
504:
503:Thomas Sebeok
500:
495:
494:
490:
483:
478:
475:
471:
466:
463:
460:, p. 18.
459:
458:Johnston 2019
454:
452:
448:
444:
443:Johnston 2019
439:
436:
433:, p. 15.
432:
431:Johnston 2019
427:
424:
420:
419:Johnston 2019
415:
412:
408:
407:Johnston 2019
403:
400:
397:, p. 16.
396:
391:
388:
384:
379:
376:
372:
371:Johnston 2019
367:
364:
360:
359:Johnston 2019
355:
352:
348:
347:Johnston 2019
343:
340:
334:
331:
328:, p. 82.
327:
326:Ginzburg 1984
322:
319:
315:
314:Johnston 2019
310:
307:
303:
298:
296:
292:
288:
287:Johnston 2019
283:
280:
276:
271:
268:
264:
259:
256:
252:
251:Johnston 2019
247:
245:
241:
235:
230:
228:
225:
224:
218:
216:
212:
208:
203:
199:
195:
191:
183:
181:
179:
175:
171:
167:
163:
158:
156:
152:
148:
144:
140:
136:
132:
128:
124:
116:
114:
112:
108:
104:
99:
95:
91:
86:
85:Villa I Tatti
82:
78:
74:
70:
66:
65:Royal Academy
61:
59:
55:
51:
43:
41:
39:
35:
31:
23:
19:
570:(28): 1–27.
567:
563:
535:(28): 1–18.
532:
528:
506:
477:
465:
438:
426:
414:
402:
390:
378:
373:, p. 9.
366:
354:
342:
333:
321:
316:, p. 4.
309:
304:, p. 4.
282:
277:, p. 9.
270:
265:, p. 2.
258:
253:, p. 1.
221:
219:
206:
201:
187:
173:
165:
161:
159:
153:(1904) and
134:
120:
73:Violet Paget
62:
47:
29:
28:
18:
608:1939 deaths
603:1859 births
499:Umberto Eco
213:(1927) and
164:(1907) and
597:Categories
231:References
155:Pollaiuolo
151:Verrocchio
111:Vernon Lee
586:195495140
551:195411773
223:The Times
202:Ă rebours
178:Donatello
123:monograph
505:(eds.),
131:Mantegna
77:Florence
491:Sources
584:
549:
513:
170:Venice
107:Loeser
582:S2CID
547:S2CID
236:Notes
125:, on
103:Horne
50:Frome
568:2019
533:2019
511:ISBN
196:and
143:Luca
36:and
572:doi
537:doi
599::
580:.
566:.
562:.
545:.
531:.
527:.
501:;
450:^
294:^
243:^
192:,
172:,
109:,
105:,
40:.
588:.
574::
553:.
539::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
