By Steve Martin
Lacey Yeager is younger, appealing, and bold adequate to take the NYC artwork international by way of hurricane. Groomed at Sotheby's and hungry to maintain mountain climbing the social and profession ladders positioned sooner than her, Lacey charms women and men, young and old, wealthy or even richer together with her magnetic air of secrecy and liveliness. Her ascension to the top stages of town parallel the hovering heights--and, from time to time, the darkish lows--of the paintings global and the rustic from the past due Nineties via this day.
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Additional info for An Object of Beauty: A Novel
Asked Lacey. ” I said. ” She handled the book so freely in the lunchroom that I knew it had been legitimately checked out of the library and did not represent a heist. ” Lacey laid the book on the table and spun its face toward me. On the cover was a painting by Maxfield Parrish. I knew a bit about him. In the twenties, he was America’s most famous artist. His pictures featured young girls lounging by lakes or sitting naked on tree swings in fanciful arcadias. These delicately painted pictures also sold tires and magazines.
She was kept from a significant raise on the premise that new employees were really interns learning the business, and during one of our increasingly rare lunches, she told me this: “Guess what I figured out: Sotheby’s is my yacht. It’s a money pit. I’m losing money just to work there. ” Upstairs, information passed more freely. It came in overheard slices and tidbits, and in facial expressions, too. A sneer or sigh directed at a Picasso by one of the experts meant something, and she started to grasp why one Picasso warranted a snub while another one elicited awe.
The paintings in the basement were generally dogs; the finer works remained upstairs, hung over a director’s desk or in a private room until their grand display in one of the large galleries. The masterpieces were examined by conservators bearing loupes and black lights, while Lacey toiled downstairs in the antique dust like Sneezy the Dwarf. The subject matter she faced every day was not the apples of Cézanne, but the kitsch of the nineteenth century: monks tippling, waifs selling flowers, cardinals laughing, cows in landscapes, Venetian gondoliers, baby chicks in farmyards, mischievous shoeshine boys, and still lifes painted so badly that objects seemed to levitate over the tabletop on which they were supposed to be gravitationally attached.
An Object of Beauty: A Novel by Steve Martin