A brisk tale of true-life heroism, villainy, artistry and passion.
Charney (Art History/American Univ. of Rome; The Art Thief, 2007, etc.) unsnarls the tangled history of Jan van Eyck’s 15th-century The Ghent Altarpiece (aka The Mystic Lamb), “the most desired and victimized object of all time.”
With a novelist’s sense of structure and tension, the author adds an easy familiarity with the techniques of oil painting and with the intertwining vines of art and political and religious history. He begins near the end of World War II. As the Reich’s military fortunes crumbled, the Allies scrambled to find where the Nazis concealed their tens of thousands of stolen artworks, many slated for Hitler’s proposed “super museum.” Among them was the Altarpiece. Charney pauses to describe the large work, which comprises 20 individual painted panels, hinged together. Art historians admire it not just for its supreme craftsmanship—described clearly by the author—but also for its historical significance as the world’s first major oil painting. Charney also lists a number of “firsts” that the work represents (e.g., the first to use directed spotlighting) and sketches the biography of van Eyck, which makes Shakespeare’s seem richly detailed by comparison. Commissioned to create the altarpiece for the Saint Bavo Cathedral in Ghent, Belgium, van Eyck took some six years to complete it. As religious and political strife waxed and waned, the painting was always in danger. The Calvinists didn’t like it (the Catholics promptly hid it); Napoleon, perhaps history’s greatest art thief, craved it; a cathedral fire threatened it; the Germans came for it in WWI and again in WWII. Even now, one panel remains at large, though some argue that the replacement copy is actually the original.
A brisk tale of true-life heroism, villainy, artistry and passion.Pub Date: Oct. 5, 2010
ISBN: 978-1-58648-800-0
Page Count: 336
Publisher: PublicAffairs
Review Posted Online: June 30, 2010
Kirkus Reviews Issue: July 15, 2010
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Meticulous research by an international team of scholars, complemented by magnificently reproduced illustrations, creates an impressive portrait of the fin-de-siäcle French artist Odilon Redon (18401916). Although Redon was once ranked with artists like Seurat and Gauguin, he has lately received less attention than his peers—a situation that the current retrospective at the Art Institute of Chicago, which this volume explicates, should help redress. Redon is best remembered today for his visionary monochromatic prints and drawings. Among his most frequently exhibited pictures are such fantastic dream images as an eye set within an ascending balloon and a giant smiling spider poised at a jaunty angle. Many public collections also display colorful pastel drawings of flower bouquets from the latter part of his career. It has proven difficult to explain his work according to the grand narratives of art history. Redon was neither an impressionist nor a modernist; even the label of symbolist threatens to assimilate his works to literature and philosophy rather than grant them the independence that their singularity demands. The authors, led by the Art Institute's Druick, recontextualize Redon by carefully unraveling his relationship to the romantic esthetics, spiritualist theologies, and art-market imperatives of his time, while offering a convincing psychoanalytic account of how his art reflects his unhappy childhood, his difficult apprenticeship, and his struggle to emerge from the shadow of his talented elder brother. Dark clouds and landscapes from his early life mark his noirs, they argue, but dissolve to reveal the no less mysterious, but finally joyous, light and color of his last decades. Many heretofore unknown full-color images brought to light by their investigations give a fuller sense of the development of themes in this late period. A superb art book for aficionados of occult ideas, of the graphic arts, or simply of striking images and effusive colors.
Pub Date: Oct. 1, 1994
ISBN: 0-8109-3769-7
Page Count: 464
Publisher: Abrams
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1994
Popular greeting-card illustrator Stine (Off to Sea, not reviewed) showcases his seductive full-color drawings and pithy texts, which give the subject of metaphysical angst in the '90s a decidedly mass-market spin. Stine's graphically striking style represents an eclectic inventory of au courant illustration techniques: meticulous and mellifluous inked line, scratchy pencil line, scumbled painted backgrounds, pasty pastel surfaces, complex webs of crosshatching, digitized computer imagery, photocopied pictorial manipulations, collage, and photo montage. Augmenting this are hand-lettered and typeset texts, which run the gamut from simple caption to poetic truism to diaristic vignette. The cover illustration sets the book's tone. In it, a thin male figure—presumably Stine—teeters atop a spirelike mountain, reaching for a single white star against a wash of azure sky. Inside, in ``Face to Face With The Second Step,'' a black dog rests on the step of an oversize blue geometric staircase, its panting red tongue playfully activating the composition. In many inclusions, lone figures are placed in psychologically charged landscapes, facing floating hearts that seem to represent love, hope, and loss. Texts—such as ``Even Lies Are Part of The Truth''—accompany some of the art. Occasionally Stine speaks of his own life: ``I think the next phase...is going to be the poet phase.'' Like illustrators Saul Steinberg, Robert Osborn, and Ralph Steadman before him, Stine has freely borrowed from the conventions of contemporary art to bring a level of perceived seriousness to his work. The plates have the look of greeting cards designed for yet-unnamed existentialist holidays. Poetic, pained, at times downright sappy, Stine's visual candy goes for the consumer jugular. Casting himself as a sensitive hero, he comes across like ``Jonathan Livingston Illustrator.'' (Book-of- the-Month Club selection)
Pub Date: Oct. 26, 1994
ISBN: 1-55670-375-9
Page Count: 144
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1994
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