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Product Description
Amazon.co.uk Review
This savoury, erudite collection of essays makes a reader feel incomparably lucky, as if he or she is seated next to a learned, original, decently friendly fellow traveller on an intercontinental flight. Author James Fenton has a style that is both intimate and scholarly. It is always amusing and illuminating; it never cloys. The subjects of the 15 essays--all but two originally published in the New York Review of Books--include Freud's collection of statuary; the remarks of Renoir and Degas made at two parties in the same home (the artists, not on speaking terms, were invited on different nights); Jasper Johns' early life and his later use of the American flag in his paintings; a talented nephew of Leonardo da Vinci whose work was oddly described by both Vasari and Picasso; and more. Fenton's writing is most moving in those essays that take off from a chance thought or a bit of accidentally discovered history, like the one on Freud. And those that began as book reviews are in a class by themselves. Fenton generally shreds or praises his subjects according to his own meticulous research, which refreshingly tends toward primary sources, but occasionally he simply takes the reader aside. Quoting one critic, he groans: "If this sort of writing makes you want to throw up, I quite agree." His, on the other hand, makes one want to turn back to the beginning of the book and start all over again. --Peggy Moorman, Amazon.com
Synopsis
A collection of 15 essays on art and art history which ranges from a piece that argues that the Egyptian funerary portraits weren't death pictures at all, to a considered view of Nazi art. Also included are major essays on Seurat, Degas and Picasso.
