THE LADY IN GOLD

THE EXTRAORDINARY TALE OF GUSTAV KLIMT'S MASTERPIECE, PORTRAIT OF ADELE BLOCH-BAUER

The lusciously detailed story of Gustav Klimt’s most famous painting, detailing the relationship between the artist, the subject, their heirs and those who coveted the masterpiece.

Family letters, which remarkably survived the war, support the biography of Klimt and Bloch-Bauer, and the Nazi regime’s precise records contribute to their story as they gathered up all of Europe’s art collections. Washington Post writer O’Connor then deals with their heirs’ fight with Austria to restore their property. Klimt was born a catholic in 1862 in Vienna, a city in which the Hapsburgs courted highly successful Jews to finance their railroads. Those Jews easily intermarried with the established families of the empire. Even though 10 percent of Vienna was Jewish, only a very few were sufficiently wealthy to be considered part of the “second society” of freshly minted aristocrats and industrialists. The poorer Jews continued as victims especially as Vienna became the birthplace of anti-Semitism as a main political force. Klimt and his brother, Ernst, were sons of a gold engraver who established themselves early in life as painters of frescoes and architectural decorations. Ernst’s premature death caused Gustav to turn away from their success and devote himself to art. Klimt and his friends closely followed the trials of the French Impressionists and imitated their rejection of the established art world with their own “Secession,” exhibiting their “art of the soul.” From the time it was painted, the Portrait of Adele Bloch-Bauer caused a sensation, and Klimt and Bloch-Bauer delighted in it. O’Connor’s thorough research comes fully into the light in the second part of the book as she traces the “ownership” of this painting and the inestimable number of artworks that were absorbed as Hitler planned his museum in Linz. Finally, the tenacity with which descendants of those robbed by the Nazis is exemplified by the work of Randol Schoenberg, who tirelessly strove to assure the return of the Lady in Gold. Art-history fans will love the deep details of the painting, and history buffs will revel in the facts O’Connor includes as she exposes a deeper picture of World War II.  

 

Pub Date: Feb. 7, 2012

ISBN: 978-0-307-26564-7

Page Count: 400

Publisher: Knopf

Review Posted Online: Dec. 5, 2011

Kirkus Reviews Issue: Dec. 15, 2011

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

HUMANS OF NEW YORK

STORIES

Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A succinct, passionate guide to fostering creativity.

HOW TO BE AN ARTIST

A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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