Here are 100 books that The Art Stealers fans have personally recommended if you like
The Art Stealers.
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I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
This very well-researched and gripping book taught me the meaning of the term “laundering” in the art market and revealed the duplicity of the late art dealer, Larry Fleischman, who both collected and sold stolen antiquities and marketed undocumented works taken from Edward Hopper’s estate.
He didn’t care about provenance or history of ownership and is quoted in this book as saying: “Everything comes from somewhere.”
Although I knew and dealt with Fleishman, I trusted him and was tricked by him.
A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist).
In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
This book shows the importance of provenance or history of ownership in tracking the authenticity of works of art.
We learn about criminals, who not only can forge art, but they can also fake or hide archival materials. For me, this sheds light on the case of Edward Hopper’s papers, because we will never know what the minister removed or destroyed from what he took.
Since he was using these papers both to pose as an expert on Hopper and to hide his possession of hundreds of undocumented artworks by one of the most documented of all artists, he might well have removed any incriminating evidence.
A tautly paced investigation of one the 20th century's most audacious art frauds, which generated hundreds of forgeries-many of them still hanging in prominent museums and private collections today
Provenance is the extraordinary narrative of one of the most far-reaching and elaborate deceptions in art history. Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices.
Chief among those was the struggling artist John Myatt, a vulnerable single father who was manipulated by Drewe into becoming a prolific art forger. Once Myatt had painted…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
I really like the discussion of the Metropolitan Museum’s celebrated acquisition of the ancient Greek Eurphronios Krater, which turned out to have been stolen from a tomb and had to be returned to Italy.
We read that even taking less valuable items “damages archaeological heritage, thereby compromising or weakening historical scholarship.”
I appreciate how this also applies to the unrelated minister who got into the Edward Hopper estate and who hid Hopper’s papers—5,000 documents—for 50 years, damaging their context, perhaps destroying some.
I wrote my biography and definitive catalogue of Hopper’s art without access to most of these papers. Now that I have seen most of them, I am relieved that my work retains its value. Fortunately, I found another source that provided many of Jo Hopper’s diaries.
In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
I like this book’s discussion of curators as one of two “sources of truth.”
It mentions “curatorial knowledge” and “provenance research,” but also mentions “donors and people associated with the collection.”
With such subjects, there exists a huge area for administrative abuse: for example, those who engage curators/scholars to do provenance research and then dismiss it if not what the museum expected or intended.
Yet this book states, and I agree: “Cataloguing takes deep expertise and time.” So this book brings up some of the pitfalls curators can experience.
Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors' interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic…
For whatever reason, I have always been interested in sad men. Successful men can be boring. It is failure, and how men manage it when success is the primary marker of masculinity, that I find interesting as a subject for fiction. Even when I was in my 20s, I liked reading novels about men suffering mid-life crisis. And now that I am squarely in middle age, novels that were about the future are now novels about the present.
I have returned to many of these stories over and over again through the years—for Cheever’s prose, for his sense of what makes men tick. On one level, I can’t quite relate to white suburban husbands in upstate New York in the 1950s and 60s. And yet, somehow, they seem profoundly familiar.
John Cheever's Collected Stories explores the delicate psychological frameworks of 20th century suburbia.
WITH AN INTRODUCTION BY HANIF KUREISHI
This outstanding collection by Pulitzer Prize-winning novelist John Cheever shows the power and range of one of the finest short story writers of the last century. Stories of love and of squalor, they include masterpieces such as 'The Swimmer' and 'Goodbye, My Brother' and date from the time of his honourable discharge from the Army at the end of the Second World War.
I’m obsessed with travel, and have spent years ambling the planet. I’m also an Associate Professor of Philosophy at Durham University—I spend lots of time reading books, and occasionally writing them. Travel and philosophy can help us make sense of our magnificent, peculiar world.
How can travel help us find the good life?The Art of Travel asks this question of artists such as Edward Hopper and Vincent van Gogh, with profound and amusing results. Why can anticipating travel be more pleasant than actually going away? What is the lure of the Bahamas, of the ‘exotic’, of open deserts? Throughout, De Botton invites us to pay better attention to the world around us. I especially enjoy his musings on the profundities of travel—on waiting at Heathrow airport, circling ring-roads, and dried ketchup of motorway service stations.
From the author of the Number One bestseller, THE CONSOLATIONS OF PHILOSOPHY, this is an inspirational and witty guide to how to make our travels go better. Calling upon such guides as Hopper, Flaubert and Ruskin, de Botton accompanies us on an eye-opening and entertaining tour of the philosophical questions behind our desire to travel - and the capricious nature of our thoughts and emotions when we do.
I'm a New Yorker with a background in the performing arts. Though a lifelong reader and bookstore loiterer, my early writing career was focused on the stage as well as the pursuit of a career in screenwriting. This led to many years writing and producing theatre as well as working in film and TV both as a writer and in production. The books I've chosen, I feel influenced the American language in the last century, an influence reflected in the tone of the novels and films from that period described by scholars as “Between the Wars.” It's a period that fascinates me for it exists now only in books and movies and is therein preserved.
John O’Hara’s name should be spoken in the same breath as Fitzgerald, Steinbeck, and Hemingway. Maybe it isn’t, because he never had that one homerun book that stood out in the canon, like a Gatsbyor a Grapes of Wrath. Though I think Butterfield 8 and Appointment in Samarastand up to either of the above, I have chosen this collection of short stories. He wrote more short stories for the New Yorker than anyone ever did and is credited with inventing that particular style that the periodical became known for. Each of these stories – all short and fast as an uppercut – shows the flawed humanity striving in the city from the 30s to the 60s – from ad men to secretaries, to bums and soda jerks. With his trademark crackling dialogue, this collection of gritty Americana will leave you feeling like you are standing in an…
'Superb... These thirty-two stories inhabit the Technicolor vernaculars of taxi drivers, barbers, paper pushers and society matrons... O'Hara was American fiction's greatest eavesdropper, recording the everyday speech and tone of all strata of mid-century society' Wall Street Journal
John O'Hara remains the great chronicler of American society, and nowhere are his powers more evident than in his portraits of New York's so-called Golden Age. Unsparingly observed, brilliantly cutting and always on the tragic edge of epiphany, the stories collected here are among O'Hara's finest work, and show why he still stands as the most-published short story writer in the history…
Shirley Jackson award-winner Kaaron Warren published her first short story in 1993 and has had fiction in print every year since. She was recently given the Peter McNamara Lifetime Achievement Award and was Guest of Honour at World Fantasy 2018, Stokercon 2019 and Geysercon 2019. She has also been Guest of Honour at Conflux in Canberra and Genrecon in Brisbane.
She has published five multi-award winning novels (Slights, Walking the Tree, Mistification, The Grief Hole and Tide of Stone) and seven short story collections, including the multi-award winning Through Splintered Walls. Her most recent short story collection is A Primer to Kaaron Warren from Dark Moon Books. Her most recent novella, Into Bones Like Oil (Meerkat Press), was shortlisted for a Shirley Jackson Award and the Bram Stoker Award, winning the Aurealis Award. Her stories have appeared in both Ellen Datlow’s and Paula Guran’s Year’s Best anthologies.
This
book looks at thieves, liars, manipulators and of course the art itself.
There’s a section on damaged goods, which taps into one of my obsessions about
the difference in time and effort creation versus destruction takes.
It’s
full of pictures, ironic given that most of the pieces depicted are lost, never
to be found. The Gallery of Missing Art is beautifully reproduced, and includes
such masterpieces as Strindberg’s “Night of Jealousy”, so we can look at the
works and marvel. But knowing that these pieces are…somewhere? Hidden away for
a small audience, or perhaps destroyed? That’s heart-breaking.
The masterpieces of art that have been stolen could fill a museum. Museum of the Missing offers readers a rare glimpse of the greatest gallery that never was. Simon Houpt brilliantly recounts the story of its valuable holdings and investigates some of the men and women involved in the thefts. Filled with beautiful illustrations and rarely seen photographs, this intriguing book is also a celebration of the ingenious few who are trying to get these treasures back.
I’ve been obsessed with art since I was a kid. When I look at art, I see stories, not just about what I’m seeing, but about what it was like when the painting was created: was the artist tired, grumpy, frustrated? Why’d they paint it the way they did? Sadly, my artistic talent is limited, but fortunately, I can tell stories. After visiting William Orpen’s painting of Mona Dunn at the Beaverbrook Art Gallery, I couldn’t help wondering why he made her look so pensive. The only way I could answer that question was by writing my own story about Mona and the other paintings in the gallery!
This book is a modern classic and no wonder – delightful characters, a twisty-turny mystery, and best of all: art. The way Balliett introduces kids to the world of art through puzzles, codes, wordplay, is clever and thrilling and had me completely entranced. The world of art theft is both thrilling and chilling, and this book takes us both places.
This bewitching first novel is a puzzle, wrapped in a mystery, disguised as an adventure and delivered as a work of art. When a book of inexplicable occurences bring Petra Andalee and Calder Pillay together, strange things start to happen- seemingly unrelated events connect, an eccentric old woman seeks their company, and an invaluable Vermeer painting disappears. Before they know it, the two find themselves at the centre of an international art scandal. As Petra and Calder are drawn clue by clue into a mysterious labyrinth they must draw on their powers of intuition, their skills at problem solving, and…
In my “day job” I write about architecture, which means I often write about things I see in photos. When I began writing fiction, I continued using photos as inspiration and research. My novels are inspired by my family’s circumstances at the end of World War II and my fascination with the work of the Monuments Men. Photos show me details like a little girl playing with her doll under a sign that declares her building to be at risk of collapse, or a woman using the ruins of a building to hang out the wash. I love finding ways to use these elements in my writing.
I chose photo books for my list because I often use photos to help me as I write—either to construct a scene or to provide detail. Because my books are set against the backdrop of the Monuments Men’s work, this book was really the starting point for my writing the trilogy.
Edsel presents a methodical overview of the vast scope of Nazi art theft in Europe, the destruction wrought on its monuments, and the enormous task of restitution and rebuilding. Seeing the sheer quantity of looted art stacked ceiling-high in endless rows and the faces of the men and women charged with making it right helped me put their work into my fictional work.
From the #1 New York Times bestselling author of The Monuments Men, which is now a major motion picture directed by and starring George Clooney, Rescuing Da Vinci uses 460 photographs to tell the story of the Monuments Men.
The Monuments Men were a group of 345 or so men and women from thirteen nations who comprised the Monuments, Fine Arts, and Archives section during World War II. Many were museum directors, curators, art historians and educators. Together they worked to protect monuments and other cultural treasures from the destruction of World War II. In the last year of the…
