Art, greed, and stealth make for a lively tale of intrigue.
The journey of a Renaissance painting reveals secrets of the contemporary art world.
Art critic and documentary filmmaker Lewis (Horizons, Zones and Outer Spaces: The Art of John Loker, 2019, etc.) crafts a richly detailed mystery surrounding one striking 15th-century portrait—“a piece of junk, a thrift-store picture sold at a rock-bottom price”—bought by two dealers in 2005 for $1,175, sold for $80 million in 2013, and, in 2017, auctioned at Christie’s New York for $450 million, making it the world’s most expensive painting. The work is Salvator Mundi, depicting Christ, his hand raised in blessing, holding a glowing orb: Christ as the Savior of the World. The mystery is its creator. To prove that the artist was Leonardo da Vinci, the dealers spent years investigating the work’s provenance, a record of ownership that shows how it was identified, the esteem in which it was held, and its value through the years. They also consulted with da Vinci experts, art historians, and an esteemed restorer who took on the challenge of painstakingly bringing the relic back to life. The work of restoration proved central to the painting’s fame and value. “The restorer,” Lewis notes, “spends hours at a stretch in a closed-off world, peering through magnifying visors, engrossed in the most minuscule details of a painting.” With the Salvator Mundi, though, the restorer’s work broached a border “between conservation and invention.” Controversy over attribution raged, inflamed by concern over the extent of the restoration, experts’ evaluation of brushwork and style, and, not least, professional rivalries, academic ambitions, and financial interests. Even after London’s National Gallery placed it in a da Vinci exhibition, some believed it at most da Vinci–esque, perhaps emanating from his studio. As Lewis chronicles the quest to attribute the painting to da Vinci, he uncovers an astoundingly dysfunctional world of museums, galleries, auction houses, collectors—a Russian oligarch and a Saudi prince among them—and unscrupulous middlemen, a world plagued by mistrust, suspicion, and the irresistible lure of financial rewards.
Art, greed, and stealth make for a lively tale of intrigue.Pub Date: June 25, 2019
ISBN: 978-1-984819-25-3
Page Count: 384
Publisher: Ballantine
Review Posted Online: May 19, 2019
BOOK REVIEW
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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