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Mary Berenson (born Mary Whitall Smith; 1864 in Pennsylvania – 1945 in Italy) was an art historian, now thought to have had a large hand in some of the writings of her second husband, Bernard Berenson.
Mary Berenson, a scholar of Italian Renaissance art, was the collaborator and wife of Bernard Berenson, whom she often assisted with his research, writing, lecturing, and business affairs. Born Mary Whitall Smith, she was the daughter of two well-known Quaker preachers, Hannah Whitall and Robert Pearsall Smith.
In 1890 Berenson was introduced to Mary through a mutual friend, Gertrude Hitz-Burton. Having already become unhappy in her marriage, Mary followed Berenson back to the continent to study art under his tutelage.
Through photographs, documents, student writings, and scholarly essays, Berenson and Harvard: Bernard and Mary as Students offers engaging portrayals not only of the two students but also of Harvard College and the Harvard Annex in the late nineteenth century.
As his wife and business partner, Mary was one of the most significant influences on Bernard Berenson’s career. Throughout their marriage of more than 50 years, even though she complained of his violent rage and his “slipshod sentences” as a writer, Mary never lost her admiration for his keen knowledge of art, connoisseurship, and culture.
Belle da Costa Greene (1879–1950), the Morgan’s pathbreaking inaugural director, attracted considerable attention both in the press and from her many admirers, among them the Italian Renaissance art historian, scholar, and connoisseur Bernard Berenson (1865–1959).
Mary Berenson, a scholar of Italian Renaissance art, was the wife of Bernard Berenson, whom she often assisted in his research, writing, and business affairs.
