ve, despite embarrassments such as his low assessment of Sassetta. Instead, subsequent editions featured his corrections and supplements to his lists of attributions. Haughty and extremely class-conscious, perhaps because of his modest upbringings and American heritage in a European-dominated field, Berenson cultivated feuds; his personal correspondence shows that he viewed contemporary art historians as either "friends" or "enemies." The opposing camps of the traditional British art historians, led by S. Arthur Strong and R. Langton Douglas and the "Berenson-ites," manifested themselves in nasty reviews by one another in the pages of the Burlington Magazine and elsewhere. Berenson had no students per se, but mentored many scholars to various degrees, including the later director of the National Gallery of Art, Washington DC, John Walker and Harvard professor Sydney J. Freedberg, Clark (director of the National Gallery, London), and John Pope-Hennessey all of whom studied at I Tatti. I Tatti and its contents were willed to Harvard University and are now the Biblioteca Berenson and the Harvard University Center for Italian Renaissance Studies, Villa I Tatti. His correspondence is housed at the Biblioteca Berenson.
Intellectually, Berenson considered artworks sufficient evidence from which to deduce a biography of the artist. This radical stance, that selfhood and morphology are one, what Gabriele Guercio called "a self within the process of signifcation."
Home Country: Lithuania/United States/Italy
Sources: [the literature on Berenson is legion. See generally, by category:] analysis: Schapiro, Meyer. "Mr. Berenson's Values." Encounter 16 (January 1961): 57-65; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 47, 43 n.84, 45 n. 93; Brown, J. Carter, and Kiel, Hanna. Looking at Pictures with Bernard Berenson. New York: Abrams, 1974; Brown, David Alan. Berenson and the Connoisseurship of Italian Painting. Washington, DC: National Gallery of Art, 1979; Bazin, Germain. Histoire de l'histoire de l'art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 238-243, 540-541; Guercio, Gabriele. Art as Existence: The Artist's Monograph and Its Project. Cambridge, MA: MIT Press, 2006, p. 21; biographies: Sprigge, Sylvia Saunders. Berenson: a Biography. London: Allen & Unwin, 1960; Mariano, Nicky. Quarant’anni con Berenson. Florence: Sansoni, 1969, English, Forty Years with Berenson. New York: Knopf, 1966; Secrest, Meryle. Being Bernard Berenson: a Biography. New York: Holt, Rinehart and Winston, 1979; Samuels, Ernest. Bernard Berenson: the Making of a Connoisseur. Cambridge, MA: Belknap Press, 1979, [volume 1], and Samuels, Ernest and Samuels, Jayne Newcomer. Bernard Berenson: the Making of a Legend [volume 2]. Cambridge, MA: Belknap Press, 1987; Strachey, Barbara, and Samuels, Jayne, ed. Mary Berenson: A Self-Portrait from her Diaries and Letters. New York: Norton, 1983; Simpson, Colin. Artful Partners: Bernard Berenson and Joseph Duveen. New York: Macmillan, 1986; Calo, Mary Ann. Bernard Berenson and the Twentieth Century. Philadelphia: Temple University Press, 1994; [F. Zeri's recollection of] Zeri, Federico. The Daily Telegraph (London). November 2 (1998), p. 21; "Berenson and Harvard" [I Tatti website] http://berenson.itatti.harvard.edu/berenson/; autobiographical/primary source: Rumor and Reflection. New York: Simon and Schuster, 1952; Kiel, Hanna, and Walker, John, and Mariano, Nicky, eds. The Bernard Berenson Treasury; a Selection from the Works, Unpublished Writings, Letters, Diaries, and Journals of the Most Celebrated Humanist and Art historian of Our Times, 1887-1958. New York: Simon and Schuster, 1962; Sunset and Twilight: from the Diaries of 1947-1958. New York: Harcourt, Brace & World, 1963; Biocca, Dario, ed. A Matter of Passion: Letters of Bernard Berenson and Clotilde Marghieri. Berkeley: University of California Press, 1989; and Morra, Umberto. Conversations with Berenson. Boston: Houghton Mi