I’ve been twice to the International Basel Art Show which takes place every June in Switzerland and have witnessed dapper gentleman in houndstooth buying paintings by Hans Arp for $20,000 and overheard many an avant-guard nabob negotiate superior sums on their cell phones. I’d wondered who these people were, what kinds of lives they lived. In Steve Martin’s latest novel, An Object of Beauty I was given some insight into this world of art that fascinates.
The book’s main character is Lacey as described by a nerdy and likable narrator, a writer for ARTnews. She is an enviable femme fatale type: attractive, witty, appreciator of and surrounded by the finest of worldly things, driven by intense amition to succeed, ensnaring millionaire art dealers in her charms, moving free of self-doubt or timidity. I think Lacey’s complexities reveal Martin’s understanding of women in general.
When Lacey sells her Grandmother’s Maxfield Parrish painting in a dubious way in order to stay in New York and pursue her dream, readers see just how unscrupulous, almost immoral she is. Especially when said Parrish painting depicts her own grandmother as an enchanting youth, a dear testament to an ongoing familial link to art, artists, and to beauty. This ambitious move renders her shallow, vacuous, as the New York art scene seems after the terrorist attacts of September 11.
I found the book to be a fun and rollicking read while maintaining an intelligent tone. I think it would adapt well to film. It is also, most importantly, powerful in conveying art’s inherent value to humanity. This was aided by the twenty-two reproductions of various artworks found throughout and especially felt from one effectual scene in which Lacey hangs a painting by Milton Avery on her apartment wall. Readers witness the Avery catalyzing an almost spiritual transformation of her apartment, turning it from a student-like, juevenile space to a harmonious, exquisite, mature abode. She has a revelation at this moment, understanding why people collect art, value it, invest in it.
It would be hard not to come away unaffected by An Object of Beauty. It seems likely that readers of every kind will have a new or refreshed understanding of art, even be stirred to collect or investigate it further.
It’s impassioned author said shortly after buying a painting by William Michael Harnett, a 19th century still-life painting (from New York Times article November, 2010): “It’s absolutely great to live with. It’s better than television. There’s not a day I don’t look at or spend some amount of time with an artwork.”
The book’s main character is Lacey as described by a nerdy and likable narrator, a writer for ARTnews. She is an enviable femme fatale type: attractive, witty, appreciator of and surrounded by the finest of worldly things, driven by intense amition to succeed, ensnaring millionaire art dealers in her charms, moving free of self-doubt or timidity. I think Lacey’s complexities reveal Martin’s understanding of women in general.
When Lacey sells her Grandmother’s Maxfield Parrish painting in a dubious way in order to stay in New York and pursue her dream, readers see just how unscrupulous, almost immoral she is. Especially when said Parrish painting depicts her own grandmother as an enchanting youth, a dear testament to an ongoing familial link to art, artists, and to beauty. This ambitious move renders her shallow, vacuous, as the New York art scene seems after the terrorist attacts of September 11.
I found the book to be a fun and rollicking read while maintaining an intelligent tone. I think it would adapt well to film. It is also, most importantly, powerful in conveying art’s inherent value to humanity. This was aided by the twenty-two reproductions of various artworks found throughout and especially felt from one effectual scene in which Lacey hangs a painting by Milton Avery on her apartment wall. Readers witness the Avery catalyzing an almost spiritual transformation of her apartment, turning it from a student-like, juevenile space to a harmonious, exquisite, mature abode. She has a revelation at this moment, understanding why people collect art, value it, invest in it.
It would be hard not to come away unaffected by An Object of Beauty. It seems likely that readers of every kind will have a new or refreshed understanding of art, even be stirred to collect or investigate it further.
It’s impassioned author said shortly after buying a painting by William Michael Harnett, a 19th century still-life painting (from New York Times article November, 2010): “It’s absolutely great to live with. It’s better than television. There’s not a day I don’t look at or spend some amount of time with an artwork.”
1 comment:
Eva - I, too, think that a film could be made based on this book - who would you have play the lead roles?!
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