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Plunder: Napoleon's Theft of Veronese's Feast
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Specificaties
- Objectstaat
- ISBN
- 9780374219031
- Book Title
- Plunder : Napoleon's Theft of Veronese's Feast
- Publisher
- Farrar, Straus & Giroux
- Item Length
- 9 in
- Publication Year
- 2021
- Format
- Hardcover
- Language
- English
- Illustrator
- Yes
- Item Height
- 1.1 in
- Genre
- Art, Travel, Political Science, Biography & Autobiography, History
- Topic
- Individual Artists / General, Military / Napoleonic Wars, Public Policy / Cultural Policy, Museums, Tours, Points of Interest, Europe / General, Historical, History / General
- Item Weight
- 19.4 Oz
- Item Width
- 6 in
- Number of Pages
- 336 Pages
Over dit product
Product Identifiers
Publisher
Farrar, Straus & Giroux
ISBN-10
0374219036
ISBN-13
9780374219031
eBay Product ID (ePID)
16050064190
Product Key Features
Book Title
Plunder : Napoleon's Theft of Veronese's Feast
Number of Pages
336 Pages
Language
English
Topic
Individual Artists / General, Military / Napoleonic Wars, Public Policy / Cultural Policy, Museums, Tours, Points of Interest, Europe / General, Historical, History / General
Publication Year
2021
Illustrator
Yes
Genre
Art, Travel, Political Science, Biography & Autobiography, History
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
19.4 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2020-055303
Reviews
"A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese's canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition and the grim vicissitudes of history." --Ross King , author of Brunelleschi's Dome , The Judgment of Paris , and Mad Enchantment "'Taking without taste, without choice, is ignorance and near vandalism,' Napoleon's advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese's masterpiece, 'liberated' from a damp wall in 1797, wrapped around cylinders, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff , author of The Witches and Cleopatra, "By recounting the long, strange journey of this painting through unsuspected wars, bloodshed, perilous seas, and finally, its close escape from Nazi hands, Saltzman makes one appreciate the beauty of The Wedding Feast at Cana anew. That it still exists is a miracle all by itself. I hope she will keep on looking for new miracles." --Meryle Secrest, The American Scholar "A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly "'Taking without taste, without choice, is ignorance and near vandalism,' Napoleon's advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese's masterpiece, 'liberated' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese's canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi's Dome "Veronese's Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon's plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "Meticulously investigated, Cynthia Saltzman's Plunder is an epic account, as grand as the painting that is at the heart of this tragic story." --Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator at the Frick Collection "With evocative prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese's Wedding Feast at Cana --from the refectory of a monastery in Venice to its current home, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. This lively account offers valuable perspective to all who care about the world's artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair of the Art of Europe at the Museum of Fine Arts, Boston, and chairman of Save Venice, "A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese's canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi's Dome "'Taking without taste, without choice, is ignorance and near vandalism,' Napoleon's advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese's masterpiece, 'liberated' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Veronese's Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon's plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "With engrossing prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese's Wedding Feast at Cana --from its first home, in the refectory of a monastery in Venice, to its current one, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. Two audacious young men rightly receive the most attention: Veronese, who painted the vast canvas, and Napoleon, who plundered it. Both men seized opportunities like few before them. This lively account illuminates many episodes relevant to discussions about cultural policy today, including the history of art museums, the spoils of war, and the complexities of cultural patrimony. Saltzman's book offers valuable perspective to all who care about the world's artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair, Art of Europe at the Museum of Fine Arts, Boston and chairman of Save Venice, "A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly "'Taking without taste, without choice, is ignorance and near vandalism,' Napoleon's advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese's masterpiece, 'liberated' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese's canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi's Dome "Veronese's Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon's plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "Meticulously investigated, Cynthia Saltzman's Plunder is an epic account, as grand as the painting that is at the heart of this tragic story." --Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator at the Frick Collection "With evocative prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese's Wedding Feast at Cana --from the refectory of a monastery in Venice to its current home, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. This lively account offers valuable perspective to all who care about the world's artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair of the Art of Europe at the Museum of Fine Arts, Boston, and chairman of Save Venice, "By recounting the long, strange journey of this painting through unsuspected wars, bloodshed, perilous seas, and finally, its close escape from Nazi hands, Saltzman makes one appreciate the beauty of The Wedding Feast at Cana anew. That it still exists is a miracle all by itself. I hope she will keep on looking for new miracles." --Meryle Secrest, The American Scholar "A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly Art historian Saltzman's narrative is packed with drama and detail . . . With its extensive bibliography and compelling story, Plunder will appeal to everyone interested in Western art and civilization." --Carolyn Mulac, Booklist "'Taking without taste, without choice, is ignorance and near vandalism,' Napoleon's advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese's masterpiece, 'liberated' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese's canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi's Dome "Veronese's Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon's plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "Meticulously investigated, Cynthia Saltzman's Plunder is an epic account, as grand as the painting that is at the heart of this tragic story." --Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator at the Frick Collection "With evocative prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese's Wedding Feast at Cana --from the refectory of a monastery in Venice to its current home, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. This lively account offers valuable perspective to all who care about the world's artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair of the Art of Europe at the Museum of Fine Arts, Boston, and chairman of Save Venice, "By recounting the long, strange journey of this painting through unsuspected wars, bloodshed, perilous seas, and finally, its close escape from Nazi hands, Saltzman makes one appreciate the beauty of The Wedding Feast at Cana anew. That it still exists is a miracle all by itself. I hope she will keep on looking for new miracles." --Meryle Secrest, The American Scholar "A rich account of Napoleon''s looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly Art historian Saltzman''s narrative is packed with drama and detail . . . With its extensive bibliography and compelling story, Plunder will appeal to everyone interested in Western art and civilization." --Carolyn Mulac, Booklist "A fascinating overview of Venetian artworks, artists, patrons, techniques, and pigments . . . Readers with an interest in art history and those with an interest in stolen art . . . will appreciate this well-researched and well-written history." --Laurie Unger Skinner, Library Journal "''Taking without taste, without choice, is ignorance and near vandalism,'' Napoleon''s advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese''s masterpiece, ''liberated'' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese''s canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi''s Dome "Veronese''s Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon''s plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "Meticulously investigated, Cynthia Saltzman''s Plunder is an epic account, as grand as the painting that is at the heart of this tragic story." --Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator at the Frick Collection "With evocative prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese''s Wedding Feast at Cana --from the refectory of a monastery in Venice to its current home, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. This lively account offers valuable perspective to all who care about the world''s artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair of the Art of Europe at the Museum of Fine Arts, Boston, and chairman of Save Venice, "A rich account of Napoleon's looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly, "[a] well-written, carefully constructed, artistic gem of a book . . . Saltzman can convey her knowledge with clarity as well as wisdom . . . An excellent book." --Jeremy Black, The New Criterion "By recounting the long, strange journey of this painting through unsuspected wars, bloodshed, perilous seas, and finally, its close escape from Nazi hands, Saltzman makes one appreciate the beauty of The Wedding Feast at Cana anew. That it still exists is a miracle all by itself. I hope she will keep on looking for new miracles." --Meryle Secrest, The American Scholar "A rich account of Napoleon''s looting of Italian masterpieces . . . Saltzman unearths fascinating details . . . a rich and rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece." -- Publishers Weekly Art historian Saltzman''s narrative is packed with drama and detail . . . With its extensive bibliography and compelling story, Plunder will appeal to everyone interested in Western art and civilization." --Carolyn Mulac, Booklist "A fascinating overview of Venetian artworks, artists, patrons, techniques, and pigments . . . Readers with an interest in art history and those with an interest in stolen art . . . will appreciate this well-researched and well-written history." --Laurie Unger Skinner, Library Journal "''Taking without taste, without choice, is ignorance and near vandalism,'' Napoleon''s advisers reminded him. He had no such intention. For a Venetian war trophy he set his sights on Veronese''s masterpiece, ''liberated'' from a damp wall in 1797, wrapped around a cylinder, and shipped in a crate to the Louvre, where it became a different painting, changed the course of Western art, and where--half its lifetime later--it hangs still today. Cynthia Saltzman offers up a rich, thrilling master class on the art of power and the power of art, contemplating triumphs of both kinds, as well as the fate of glory when pinned to a wall." --Stacy Schiff, author of The Witches and Cleopatra "Cynthia Saltzman guides us on a fascinating journey from sixteenth-century Venice to Napoleonic France, telling a story as spellbinding--and as peopled with vibrant characters--as Veronese''s canvas itself. Plunder shows how even the greatest masterpieces can fall victim to power politics, personal ambition, and the grim vicissitudes of history." --Ross King, author of Mad Enchantment , The Judgment of Paris , and Brunelleschi''s Dome "Veronese''s Wedding Feast at Cana --the greatest party ever put to paint--is the ripe plum at the center of this artful, deeply-researched, and sumptuous account of Napoleon''s plunder of European art. Cynthia Saltzman, much like Veronese himself, uses her story to bring to vivid life a large and colorful cast of characters, ranging from ambitious artists to plotting diplomats. We watch Veronese paint. We see Napoleon sulk. This book is a feast all its own." --Mark Stevens, coauthor with Annalyn Swan of of de Kooning: An American Master and Francis Bacon: Revelations "Meticulously investigated, Cynthia Saltzman''s Plunder is an epic account, as grand as the painting that is at the heart of this tragic story." --Xavier F. Salomon, deputy director and Peter Jay Sharp chief curator at the Frick Collection "With evocative prose, Cynthia Saltzman traces the journey of one of the greatest of all Italian paintings--Paolo Veronese''s Wedding Feast at Cana --from the refectory of a monastery in Venice to its current home, where it faces the Mona Lisa in the busiest room of the Louvre. Moving deftly from the sixteenth century to the eighteenth to the twenty-first, Saltzman brings to life dozens of characters connected to this masterpiece. This lively account offers valuable perspective to all who care about the world''s artistic treasures and our responsibility to preserve them for future generations." --Frederick Ilchman, chair of the Art of Europe at the Museum of Fine Arts, Boston, and chairman of Save Venice
Table Of Content
Introduction: "One of the greatest [paintings] ever made with a brush" 1. "Send me a list of the pictures, statues, cabinets and curiosities" 2. Venice need not "fear that the French Armies would not fully respect its neutrality" 3. "Master Paolo will . . . not spare any expense for the finest ultramarine" 4. "He is rich in plans" 5. "This museum must demonstrate the nation's great riches" 6. "Draw as much as you can from Venetian territory" 7. "The Pope will deliver . . . one hundred paintings, busts, vases or statues" 8. "I'm on a path a thousand times more glorious" 9. "The Republic of Venice will surrender . . . twenty paintings" 10. "In the Church of St. George . . . The Wedding Feast at Cana " 11. "We . . . have received from Citizen Pietro Edwards" 12. "The most secure way would be to send them on a frigate, with 32 cannons" 13. "The seam . . . will be unstitched" 14. "The Revolution . . . is finished" 15. "You enter a gallery-- such a gallery. But such a gallery!!!" 16. "The transparency of air . . . place[s] Gros beside Tintoretto and Paul Veronese" 17. "This beautiful work reminds us of the picture by Paul Veronese" 18. "I succeeded . . . in packing most of the pieces of small size and great value" 19. "The only thing to do is to burn them!" 20. "This foreboding painting . . . seems to summon the eye . . . from all directions" 21. "The masterpieces of the arts now belong to us" 22. "We are at last beginning to drag forth from this great cavern of stolen goods the precious objects of Art" Epilogue Notes Selected Bibliography Acknowledgments Index
Synopsis
One of The Christian Science Monitor 's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." --Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana , a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa . Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.
LC Classification Number
ND623.V5A69 2021
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