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3.79 AVERAGE
3.79 AVERAGE
slow-paced
I should have known this wasn't the book for me when I saw comparisons to Girl With a Pearl Earring. There were a few parts that I did like: the descriptions of painting, Sara sassing the guild, some of the author's turns of phrase were lovely. But that wasn't enough to make up for all the things I didn't like. (EVERYTHING ELSE). Book club definitely gets me out of my comfort zone sometimes.
This book grabs the reader and does not release. Page after page you will find yourself drawn to the life of Sara de Vos, the owner of her last painting, and the grad student obsessed with her life.
I loved everything about this book. It reminded me of Elizabeth Kostova, one of my favorite authors. This is a good thing. It slipped seamlessly between past and present without confusion. It was beautifully written and obviously well researched. I'm sad it's over.
This was so close to being so good. Still loved it, though.
As sometimes happens with books that I end up liking very much, The Last Painting of Sara de Vos gave me problems at first. The writer intertwines three separate stories from three separate places and centuries: 17th century Netherlands, 1950s New York, and 2000 Sydney. Each chapter transported the reader to a different time and place and I just found that annoying at first. Just as I was beginning to get to know and care about one character, I would be whisked off to another continent to meet some stranger. But by book's end, I was into the writer's rhythm, and his method of telling the story seemed thoroughly natural and organic. I couldn't imagine it being told in any other fashion.
In 1635 Amsterdam, we meet Sara de Vos. Sara represents a fictionalized amalgam of several Dutch painters of that golden age. It was a time when guilds reigned over public life and endeavors in the region. To be able to participate, one needed to be a member of a guild, but in the early 1600s, it was unheard of for a woman to be admitted a guild for master painters. Sara was the first to be admitted to the Guild of St. Luke's in 1631.
Sara was married to another painter and they had a young daughter. They lived in extreme poverty but managed to eke out a living. Then the daughter fell ill with the plague and died four days later. Sara's husband had borrowed money which he could not pay back. Faced with debtor's prison, he ran away, leaving Sara behind. She sold everything they had and went to work for the wealthy old bachelor who was her husband's creditor in order to pay off the debt. This turned out to be a happy placement for her, but she virtually gave up painting - except for a couple more works which we will encounter in the 21st century.
In 1950s New York, the inheritor of what is thought to be the only extant painting by de Vos, a winter landscape scene called "At the Edge of a Wood," is a patent attorney living a quiet life with his wife. The de Vos painting hangs over the bed in his master bedroom. At some point, apparently during a party that they give (although it is never entirely explained), the painting is stolen and a forgery is put in its place. The forgery is so good that the absence of the original is not noticed for months.
That forgery had been painted by an Australian graduate student in art history named Eleanor Shipley. She is doing her dissertation on 17th century women Dutch painters and is particularly fascinated by de Vos. Her decision to paint the forgery is one that will haunt her for more than forty years.
In Sydney in 2000, Ellie Shipley is a celebrated art historian and professor and she is curating an exhibit of female Dutch painters. She is shocked and appalled when both versions of "At the Edge of a Wood," the original and her forgery, are acquired as a part of the exhibit. All of her guilt over her long ago crime comes flooding back and she is faced with an ethical conundrum.
Dominic Smith weaves these three threads of his story together in a masterful way. In the process, he manages to educate us about art and the demands of the artistic life, the history of the Netherlands, as well as the life lessons that can be learned from decisions made in the past.
The main lesson seems to be that deceits of the past can continue to cast long shadows into the present. The past is never really dead; it isn't even past.
In 1635 Amsterdam, we meet Sara de Vos. Sara represents a fictionalized amalgam of several Dutch painters of that golden age. It was a time when guilds reigned over public life and endeavors in the region. To be able to participate, one needed to be a member of a guild, but in the early 1600s, it was unheard of for a woman to be admitted a guild for master painters. Sara was the first to be admitted to the Guild of St. Luke's in 1631.
Sara was married to another painter and they had a young daughter. They lived in extreme poverty but managed to eke out a living. Then the daughter fell ill with the plague and died four days later. Sara's husband had borrowed money which he could not pay back. Faced with debtor's prison, he ran away, leaving Sara behind. She sold everything they had and went to work for the wealthy old bachelor who was her husband's creditor in order to pay off the debt. This turned out to be a happy placement for her, but she virtually gave up painting - except for a couple more works which we will encounter in the 21st century.
In 1950s New York, the inheritor of what is thought to be the only extant painting by de Vos, a winter landscape scene called "At the Edge of a Wood," is a patent attorney living a quiet life with his wife. The de Vos painting hangs over the bed in his master bedroom. At some point, apparently during a party that they give (although it is never entirely explained), the painting is stolen and a forgery is put in its place. The forgery is so good that the absence of the original is not noticed for months.
That forgery had been painted by an Australian graduate student in art history named Eleanor Shipley. She is doing her dissertation on 17th century women Dutch painters and is particularly fascinated by de Vos. Her decision to paint the forgery is one that will haunt her for more than forty years.
In Sydney in 2000, Ellie Shipley is a celebrated art historian and professor and she is curating an exhibit of female Dutch painters. She is shocked and appalled when both versions of "At the Edge of a Wood," the original and her forgery, are acquired as a part of the exhibit. All of her guilt over her long ago crime comes flooding back and she is faced with an ethical conundrum.
Dominic Smith weaves these three threads of his story together in a masterful way. In the process, he manages to educate us about art and the demands of the artistic life, the history of the Netherlands, as well as the life lessons that can be learned from decisions made in the past.
The main lesson seems to be that deceits of the past can continue to cast long shadows into the present. The past is never really dead; it isn't even past.
emotional
inspiring
mysterious
reflective
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
Loved this book
Sara's tale is the strongest within this narrative, and I wish more had been devoted to her. The alternating storylines ultimately convene in a cruel, yet somehow honest way, making this a fresh take on the classic art heist story.
YES. A gorgeous, unabashed 5/5 review -- I so love finding books that are so carefully, elegantly written. This book is well-paced, with far-past and recent-past both given equal detail.
Lovely and understated. Highly recommended.
Lovely and understated. Highly recommended.
Firstly I would like to thank the publishers for gifting me an ARC of this wonderful book.
This story goes back and forth between three different times. I must admit, I am usually not a fan of books that do this. I find them exhausting. But this book surprised me. I got swept up in the tale, and Dominic Smith masterfully weaves a tale of a stolen and forged painting from different perspectives. I liked seeing the tale through the eyes of the owner, the forger and the artist. Each having their own unique perspective and insights.
In 1631 Sara de Vos is admitted to the Guild of St Luke’s in Holland, the first woman to be so honoured. After personal tragedy, Sara has produced a haunting winter scene which will be known as At the Edge of a Wood.
In late 1950’s a young grad student is approached to make a forgery of a painting. A painting that has been in the same family for generations, and is currently residing above the bed of a rich New Yorker.
Over 40 years later and the Original painting and the forgery are both heading to the Art Gallery of NSW for an exhibition that is being curated by the forger herself.
The character development is engaging and there is a real sense of tension and intrigue as the story unfolds. I felt that the story of Sara packed the most emotion and moved me more than the other characters. But all the key characters in the book are well developed and interesting enough to maintain the readers attention and curiosity. I really liked the little thought the owner had that perhaps the painting brought bad luck to his family over the generations.
It is a story that packs a lot in – regrets, consequences, second chances, relationships, family, life, loss, art, theft, forgery, intrigue and more. Anyone that has a love and appreciation for the world of art will find this book fascinating. I love the glimpse into the world of forgery, and the methods used to paint the old style of works. A thoroughly entrancing read.
This story goes back and forth between three different times. I must admit, I am usually not a fan of books that do this. I find them exhausting. But this book surprised me. I got swept up in the tale, and Dominic Smith masterfully weaves a tale of a stolen and forged painting from different perspectives. I liked seeing the tale through the eyes of the owner, the forger and the artist. Each having their own unique perspective and insights.
In 1631 Sara de Vos is admitted to the Guild of St Luke’s in Holland, the first woman to be so honoured. After personal tragedy, Sara has produced a haunting winter scene which will be known as At the Edge of a Wood.
In late 1950’s a young grad student is approached to make a forgery of a painting. A painting that has been in the same family for generations, and is currently residing above the bed of a rich New Yorker.
Over 40 years later and the Original painting and the forgery are both heading to the Art Gallery of NSW for an exhibition that is being curated by the forger herself.
The character development is engaging and there is a real sense of tension and intrigue as the story unfolds. I felt that the story of Sara packed the most emotion and moved me more than the other characters. But all the key characters in the book are well developed and interesting enough to maintain the readers attention and curiosity. I really liked the little thought the owner had that perhaps the painting brought bad luck to his family over the generations.
It is a story that packs a lot in – regrets, consequences, second chances, relationships, family, life, loss, art, theft, forgery, intrigue and more. Anyone that has a love and appreciation for the world of art will find this book fascinating. I love the glimpse into the world of forgery, and the methods used to paint the old style of works. A thoroughly entrancing read.
I know very little about art in general and even less about Dutch artists of the 17th century, but this book brought that artwork to life. I very much enjoyed the story of Sara's life and her work, as well as the parallel story of Marty and Ellie. Very well written with lovely prose.