The Forgery of Venus: A Novel - Softcover

Gruber, Michael

Softcover

ISBN 10: 0061469033 ISBN 13: 9780061469039

Verlag: William Morrow Large Print, 2008

Inhaltsangabe

Chaz Wilmot makes his living cranking out old-master parodies for ads and magazine covers. When he's offered a job restoring a Venetian palace fresco, he is at first, skeptical—he immediately sees it is more a forgery than a restoration. But he is soon seduced by the challenge and throws himself into the work, doing the job brilliantly.

This feat attracts the attention of Werner Krebs, a shady art dealer who becomes Wilmot's friend and patron. Wilmot is suddenly working with a fervor he hasn't felt in years, but without warning, he finds himself reliving moments from his past—not as memories but as if they are happening all over again. Soon, he believes he can travel back to the 17th century where he lived as the Spanish artist Diego Rodriguez de Silva Velazquez. Wilmot begins to fantasize that as Velazquez, he has created a masterpiece and when the painting actually turns up, he doesn't know if he painted it or if he imagined the whole thing.

Little by little, Wilmot enters a secret world of gangsters, greed and murder, with his mystery patron at the center of it all, either as the mastermind behind a plot to forge a painting worth hundred of millions, or as the man who will save Wilmot from obscurity and madness.

Miraculously inventive, this book cements Gruber's reputation as one of the most imaginative and gifted writers of our time.

Über diesen Titel

Über die Autorin bzw. den Autor

New York Times bestselling author Michael Gruber is the author of five acclaimed novels. He lives in Seattle.

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The Forgery of Venus LP

A NovelBy Michael Gruber

HarperCollins Publishers, Inc.

Copyright © 2008 Michael Gruber
All right reserved.
ISBN: 9780061469039

Chapter One

Thanks for listening. I realize this is an imposition, but when I heard Mark was throwing this party and he said he'd invited you, I thought it was perfect timing. There's other stuff I want to talk about, but that can wait until I see you again. It's a shame you haven't seen the actual painting—those posters are shit, like all reproductions—but I guess you've read the stories about how it was found and all that. These are lies, or may be lies. Reality seems to be more flexible than I'd imagined. Anyway, let me set the stage for this.

Did you ever do any acid, back in the day? Yeah, now that I think about it, I believe I gave you your first hit, blotter acid, purple in color, and we spent the day in Riverside Park walking, and we had that conversation about seagulls, what it was like to be one, and I seem to recall you transmitted your consciousness to one of them and kited along the Hudson, and then later we spent the bad part of the trip in your room in the apartment. It was just before spring break our senior year. When I asked you how you liked it after, you said you couldn't wait for it to be over. Oh, yes.

And that's my point—it implied that you knew you were doping, knew you were hallucinating, even though the hallucinations might have seemed totally real. One time—did I ever tell you about this?—I was tripped out on acid and I happened to have this triangular tortoiseshell guitar pick on me, and I spent half the night staring at it, and all those little brown swirls came alive and showed me the entire history of Western art, from Lascaux cave painting, through Cycladic sculpture and the Greeks and Giotto, Raphael, Caravaggio, right up to Cézanne, and not only that—it revealed to me the future of art, shapes and images that would break through the sterile wastelands of postmodernism and generate a new era in the great pageant of human creativity.

And of course after that I couldn't wait to trip again, so the next weekend I got all my art supplies lined up and the guitar pick in hand and I dropped a huge fucking dose, and nothing. Worse than nothing, because the guitar pick was just what it was, a cheap piece of plastic, but there was a malign presence in the room, like a giant black Pillsbury Doughboy, and I was being squashed and smothered under it and it was laughing at me, because the whole guitar pick event was a scam designed to get me to trip again so this thing could eat me.

You remember Zubkoff, don't you, my old roommate? Pre-med? The guy who stayed in his room studying all the time. We called him the Magic Mushroom? I heard from him again, out of the blue. He's a research scientist now. I joined a study he was doing on a drug to enhance creativity.

Did you ever wonder how your brain worked? Like, say, where do ideas come from? I mean, where do they come from? A completely new idea, like relativity or using perspective in painting. Or, why are some people terrifically creative and others are patzers? Okay, being you, maybe the whole issue never came up.

But it's always fascinated me, the question of questions, and even beyond that I desperately wanted to get back to the guitar pick, I wanted to see what's next. I mean, in Western art. I still can't quite believe that it's all gurgled down to the nothing that it looks like now, big kitsch statues of cartoon characters, and wallpaper and jukeboxes, and pickled corpses, and piles of dry-cleaning bags in the corner of a white room, and "This is a cock." Of course you might say, well, things pass. Europeans stopped doing representational art for a thousand years and then they started up again. Verse epics used to be the heart of literature all over the world and then they stopped getting written. So maybe the same thing has happened to easel painting. And we have the movies now. But then you have to ask, why is the art market so huge? People want paintings, and all that's available is this terrible crap. There has to be some way of not being swamped in the ruthless torrent of innovation, as Kenneth Clark called it. As my father was always saying.

I mean, you really have to ask, do we love the old masters because they're old and rare, just portable chunks of capital, or do we love them because they give us something precious and eternally valuable? If the latter, why aren't we still doing it? Okay, everybody's forgotten how to draw, but still . . .

Drifting here. Back to Zubkoff. He called me up. He said he was running a study out of the Columbia med school, lots of funding from the government, National Institutes of Mental Health, or whatever, to explore whether human creativity could be enhanced by taking a drug. They were using art students, music students, and he also wanted to get some older artists in on it, so they could check if age was a variable. And he thought of me. Well, free dope. That was never a hard sell.

Anyway, I volunteered, and here we all are. And I'm sure you're wondering now why, after however long it is, old Wilmot is dropping all this on me. Because you're the only one left, the only person who knows me and who doesn't care enough about me to humor me if I'm nuts. I'm being blunt, I know, but it's true. And while I'm being blunt, of all the people I've known, you're the one with the solidest grasp of what the world calls reality. You have no imagination at all. Again, sorry to drop this on you. I'm dying to know what you think.

Continues...

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Details zur Ausgabe

• Verlag: William Morrow Large Print
• Erscheinungsdatum: 2008
• Sprache: Englisch
• ISBN 10: 0061469033
• ISBN 13: 9780061469039
• Einband: Tapa blanda
• Anzahl der Seiten: 464
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Nicht verfügbar