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Jonathan Harr is the author of the national bestseller A Civil Action, winner of the National Book Critics Circle Award for Nonfiction. He is a former staff writer at the New England Monthly and has written for The New Yorker and The New York Times Magazine. He lives and works in Northampton, Massachusetts, where he has taught nonfiction writing at Smith College. To schedule a speaking engagement, please contact American Program Bureau at www.apbspeakers.com From the Hardcover edition.
The author of A Civil Action here offers a very different kind of investigation: he tells the story of art student Francesca Cappelletti's efforts to track down a Caravaggio painting missing for 200 years. Copyright 2005 Reed Business Information.
Given the relative obscurity of 16th-century the Italian baroque master and all-around creative bad boy Michelangelo Merisi da Caravaggio, who after a flare of fame remained relatively unknown from his death until the 1950s, the 1992 discovery of the artist's missing painting The Taking of Christ understandably stirred up a frenzy in academic circles. Harr's skillful and long-awaited follow-up to 1997's A Civil Action provides a finely detailed account of the fuss. While contoured brush strokes and pentimenti repaints have little to do with the toxic waters and legalese Harr dissected in his debut, the author writes comfortably about complex artistic processes and enlivens the potentially tedious details of artistic restoration with his lively and articulate prose. Broken into short, succinct chapters, the narrative unfolds at a brisk pace, skipping quickly from the perspective of 91-year-old Caravaggio scholar Sir Denis Mahon to that of young, enterprising Francesca Cappelletti, a graduate student at the University of Rome researching the disappearance of The Taking of Christ. The mystery ends with Sergio Benedetti, a restorer at the National Gallery of Ireland, who ultimately discovers the lost, grime-covered masterpiece in a house owned by Jesuit priests. But while adept at coordinating dates and analyzing hairline fractures in aged paint, Harr often seems overly concerned with the step-by-step process of tracking down The Taking of the Christ, as if the specific artist who created it were irrelevant. Granted, Harr is not an art historian, but his lack of artistic analysis of Caravaggio's paintings may frustrate readers who wish to know more about the naturalistic Italian's works. (Nov. 1) Copyright 2005 Reed Business Information.