From the Publisher
Kirkus, July 15, 2010
“Charney unsnarls the tangled history of Jan van Eyck's 15th-century The Ghent Altarpiece (aka The Mystic Lamb), 'the most desired and victimized object of all time.' With a novelist's sense of structure and tension, the author adds an easy familiarity with the techniques of oil painting and with the intertwining vines of art and political and religious history…. A brisk tale of true-life heroism, villainy, artistry and passion.”
Christian Science Monitor, August 30, 2010
"[A]ction-packed…. In scrupulous detail, Charney divulges the secrets of the revered painting's past, and in doing so, gives readers a history lesson on art crime, a still-prospering black market.”
Cleveland Plain Dealer, October 14, 2010
“Well-written and thorough, this book reminds us of the influence and fragility of art, our veniality and heroism, and the delights found in both the beautiful and the strange.”
Maclean's, October 14, 2010
“In Charney's hand, the story of the various heists often reads like a political thriller.”
Catholic Herald, December 13, 2010
MARCH 2011 - AudioFile
A seventeenth-century Flemish painting so beautiful it cursed itself forever was the Ghent Altarpiece, or the Mystic Lamb. Painted in innovative detail onto 12 wooden panels by Jan van Eyck, the masterpiece earned uncommon fame throughout its peripatetic life. Author Noah Charney writes, “Since its completion in 1432, the altarpiece has disappeared, been looted in three different wars, and been burned, copied, forged, illegally sold, censored, attacked by iconoclasts, hidden away, ransomed, rescued, and stolen time and time again.” Narrator John Allen Nelson sounds comfortable with the challenging vocabulary prevalent in central Europe from the Renaissance to the present. Nelson’s forceful delivery demands attention to every word, taking on the format of a history lecture for those wearing earphones. J.A.H. © AudioFile 2011, Portland, Maine
Kirkus Reviews
Charney (Art History/American Univ. of Rome; The Art Thief, 2007, etc.) unsnarls the tangled history of Jan van Eyck's 15th-century The Ghent Altarpiece(akaThe Mystic Lamb), "the most desired and victimized object of all time."
With a novelist's sense of structure and tension, the author adds an easy familiarity with the techniques of oil painting and with the intertwining vines of art and political and religious history. He begins near the end of World War II. As the Reich's military fortunes crumbled, the Allies scrambled to find where the Nazis concealed their tens of thousands of stolen artworks, many slated for Hitler's proposed "super museum." Among them was the Altarpiece. Charney pauses to describe the large work, which comprises 20 individual painted panels, hinged together. Art historians admire it not just for its supreme craftsmanship—described clearly by the author—but also for its historical significance as the world's first major oil painting. Charney also lists a number of "firsts" that the work represents (e.g., the first to use directed spotlighting) and sketches the biography of van Eyck, which makes Shakespeare's seem richly detailed by comparison. Commissioned to create the altarpiece for the Saint Bavo Cathedral in Ghent, Belgium, van Eyck took some six years to complete it. As religious and political strife waxed and waned, the painting was always in danger. The Calvinists didn't like it (the Catholics promptly hid it); Napoleon, perhaps history's greatest art thief, craved it; a cathedral fire threatened it; the Germans came for it in WWI and again in WWII. Even now, one panel remains at large, though some argue that the replacement copy is actually the original.
A brisk tale of true-life heroism, villainy, artistry and passion.
