A fascinating, consistently entertaining exploration into the exploding business of 19th-century art.
A noted historian weaves a brilliantly colorful tapestry.
From 1800, when George III still ruled, until the end of Victoria’s reign in 1901, Britain experienced dramatic social, political, economic, and cultural changes, resulting from the advent and expansion of the Industrial Revolution. Art historian and biographer Hamilton (University Curator and Honorary Reader in the History of Art/Univ. of Birmingham; London Lights: The Minds that Moved the City that Shook the World, 2007, etc.) offers an enthralling, densely detailed examination of the impact of these changes on the art world, populating his narrative with more than 150 painters, sculptors, dealers, collectors, engravers, publishers, writers, architects, and providers of artists’ materials, such as chemists (who created colors), suppliers of marble, and manufacturers of pen nibs. It’s likely that many of his huge cast of characters will not be familiar to readers, but Hamilton’s deft portraits bring them to life: Benjamin Robert Haydon, “vain, debt-ridden, self-destructive,” who insisted on painting historical narratives at a time when that genre was on the wane; the “charming, generous, loving” John Varley, a venerated teacher and popular watercolorist, whose financial woes landed him in debtors prison; the indomitable Maria Graham, a multilingual explorer of “untrodden paths,” whose marriage to artist Augustus Wall Callcott allowed her to reinvent herself “as an influential opinion-former and a distinguished, gregarious, and independent woman of letters.” Hamilton gives prominence to his former biographical subjects J.M.W. Turner, a savvy and successful marketer of his works; and Michael Faraday, who improved image reproduction of steel-plate engraving and lithography and contributed to the creation of a new paint color, Prussian blue. The book is organized according to participants’ roles, which include not only creators of art, but also the patrons who supported them, the dealers who exhibited and sold their works, and the engravers who reproduced their work for mass consumption.
A fascinating, consistently entertaining exploration into the exploding business of 19th-century art.Pub Date: Sept. 15, 2015
ISBN: 978-1-60598-870-2
Page Count: 400
Publisher: Pegasus
Review Posted Online: May 19, 2015
Kirkus Reviews Issue: June 1, 2015
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorkerstaff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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