Painting

Double exposure

I never thought I’d write these words. I never thought I’d write these words. This book is unclassifiable. It belongs to a whole new genre. The field of literature has been extended! And I saw it happen. Martin Gayford, who writes for The Spectator and whom I’ve never met, kept a diary during the seven months he spent sitting for the painter Lucian Freud in 2003/4. The book is a journal, an act of confession, a character study of Freud, a piecemeal survey of art history and an investigation into the practicalities of portraiture. It’s also a hostage drama. Gayford has no idea how many months or years the painting

Surprising literary ventures | 9 September 2009

Patricia Highsmith, as readers will know, was the author of the upmarket thrillers Strangers on a Train and The Talented Mr Ripley, among others. She was also a keen artist, and illustrated (rather than wrote) the rare book Miranda the Panda is on the Veranda, to text supplied by her friend Doris Sanders. Its pages, somewhat Seussian in tone, include statements such as: ‘Mabel Grable, a sable, reads a fable at the table in the stable near the gable with a cable’; ‘A monk and a skunk and some junk on an elephant’s trunk’; and ‘A veil on a snail.’ The book was published by Coward-McCann, who also handled her

From worthless to priceless

A combination of art history ‘lite’ and the personal touch — a common yoking together these days, even in books supposedly of art history ‘full strength’ — makes for, in Philip Hook’s hands, an engaging read. As a dealer and auctioneer, and the author of several thrillers, he has advantages not given to the general run of such investigative writers. His subject is the rise of French Impressionist painting, after its initial years of critical contempt and commercial failure, to international mass appeal and soaring value. It’s a familiar story, frequently told, and a reader looking for new light on the fortunes of Monet, Pissarro, Renoir, Sisley et al. will