You need to sign in or sign up before continuing.
Take a photo of a barcode or cover
This is an incredible story. BUT....unless you are really really really fascinated by the extremely detailed scientific minutia involved in authenticating a artwork and you don't mind having to read about how many times Peter Silverman went to the opera...just watch the NOVA documentary about this drawing and skip the book.
When I saw this as a National Geographic article about a year ago, I was excited to see it was to be expanded into a book--this is my favorite kind of historical detective work. Unfortunately, expanding it into a book meant to Silverman huge type, big margins, a totally unnecessary chapter on the modern history of forgery, some canned background on da Vinci, all salted with constant congratulations to himself on having spotted this, conned a gallery owner out of it, responded to her complaints by blaming Christie's and then being an asshat to pretty much everybody he comes into contact with. The story is fascinating--Leonardo does a vellum portrait of the duke of Milan's 14 year old daughter, who had recently died of a pregnancy complication, then the book in which the portrait was bound went off to Poland with a Sforza bride and was broken up into picture plates later. The science behind authentication and the reunion of the pieces is great--the giant ego who has inserted himself into the story as the star, not so much.
Peter Silverman's likely Leonardo, "La Bella Principessa" is beautiful. And, it appears, she is likely a real da Vinci. Her story is interesting--and the book would be perfect if that was all it centered upon. It's only real issue was the author's self-important tone and his often petty, self-righteous interjections.
I won't pretend that I know more about art than Silverman, or his many experts. I'm a baby student; I'll go with many of the experts right now, and maybe form my own opinions down the road. Assuming that "La Bella" is a Leonardo, she is the most remarkable part of this tale. From her inception as a portrait of Bianca Sforza--ah, Sforzas, how I love you--to the cutting-edge technology that unveiled her identity, I was riveted. I also enjoyed the little details telling me HOW art historians authenticate works--the book's pictures and close-ups were welcome in this regard.
However, Silverman's part of the story drags. He just doesn't come off as likable. In fact, he seems shocked at times that people would be wary of his claims. Um, sir--it doesn't matter if Mina Gregori identified the drawing as a Leonardo. Leonardo da Vinci's don't just materialize out of nowhere. Of course the "art world" is suspicious!
The weird thing is, though Silverman refers to the drawing as "priceless" his storytelling often comes off as a sales' technique. He calls the painting "his lady", which is pretty annoying in itself, and puts down several people through the course of the book, most of all the woman who owned the drawing before he did. He name drops and mentions sordid little details here and there. It's all very gossipy and not worthy of the Leonardo he apparently owns. I kept on wanting him to stop whining and just do what he had to do.
Oh, and then he goes on to tell me stories I can't possibly believe--such as one involving a plane passenger who miraculously recognizes the drawing as a Leonardo. Really, Silverman? Really. His claims of wanting to stay out of the limelight are silly at best. You wrote a book about it, sir. Don't try to tell me you're a shrinking violet.
Four stars for the story, one for the author.
I won't pretend that I know more about art than Silverman, or his many experts. I'm a baby student; I'll go with many of the experts right now, and maybe form my own opinions down the road. Assuming that "La Bella" is a Leonardo, she is the most remarkable part of this tale. From her inception as a portrait of Bianca Sforza--ah, Sforzas, how I love you--to the cutting-edge technology that unveiled her identity, I was riveted. I also enjoyed the little details telling me HOW art historians authenticate works--the book's pictures and close-ups were welcome in this regard.
However, Silverman's part of the story drags. He just doesn't come off as likable. In fact, he seems shocked at times that people would be wary of his claims. Um, sir--it doesn't matter if Mina Gregori identified the drawing as a Leonardo. Leonardo da Vinci's don't just materialize out of nowhere. Of course the "art world" is suspicious!
The weird thing is, though Silverman refers to the drawing as "priceless" his storytelling often comes off as a sales' technique. He calls the painting "his lady", which is pretty annoying in itself, and puts down several people through the course of the book, most of all the woman who owned the drawing before he did. He name drops and mentions sordid little details here and there. It's all very gossipy and not worthy of the Leonardo he apparently owns. I kept on wanting him to stop whining and just do what he had to do.
Oh, and then he goes on to tell me stories I can't possibly believe--such as one involving a plane passenger who miraculously recognizes the drawing as a Leonardo. Really, Silverman? Really. His claims of wanting to stay out of the limelight are silly at best. You wrote a book about it, sir. Don't try to tell me you're a shrinking violet.
Four stars for the story, one for the author.
informative
medium-paced