Casts new and unexpectedly sympathetic light on arguably the dominant figure in the early-20th-century art world. (86 photos...
After a decade-long sojourn among musicians (Stephen Sondheim, 1998, etc.), Secrest returns to her previous specialty (Being Bernard Berenson, 1979, etc.) with a portrait of the world’s greatest art dealer.
The flamboyant Lord Duveen (1869–1939) is still notorious in Britain for persuading aristocrats to sell him such items of their country’s cultural patrimony as Gainsborough’s Blue Boy. He invariably sold this plunder to American “squillionaires” as he called them, in time becoming a squillionaire himself. Making use of the newly unsealed Duveen Archive, Secrest documents the family’s origins and the complicated history of the Duveen firm with all its internecine quarrels. Specifically, the author clarifies the term “Duveen,” which today is tossed about as if it all referred to Joe (as he was informally known). In fact, there was first his father’s antiques shop, which Joe took over, but also several competing firms set up by brothers and cousins, all of whom Joe scared off, bought off, absorbed, or sued. Due to such business maneuvers and his long association with art historian Berenson, who authenticated Italian masters for him and sometimes made convenient changes of attribution, Duveen has always been considered a slippery character, and his biographer’s tone is breezy and superior, bordering on condescending. (She also occasionally gets in over her head with art history.) Duveen’s considerable charm, however, survives the treatment he receives from Secrest, who acknowledges his acts of philanthropy to British museums and the manipulation of his stable of American clients to establish great public collections, improve private collections, or donate to already established institutions. The author struggles to keep Duveen in the context of his own age, but frequently judges him based on contemporary standards of conservation and ethics. She does make it clear that museums in Britain and the US would be far worse off without the great Duveen, warts and all.
Casts new and unexpectedly sympathetic light on arguably the dominant figure in the early-20th-century art world. (86 photos and illustrations)Pub Date: Oct. 1, 2004
ISBN: 0-375-41042-2
Page Count: 544
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2004
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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