PDF Ebook , by Stephanie Storey
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, by Stephanie Storey
PDF Ebook , by Stephanie Storey
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Product details
File Size: 1586 KB
Print Length: 354 pages
Publisher: Arcade; Reprint edition (March 1, 2016)
Publication Date: March 1, 2016
Sold by: Simon & Schuster Digital Sales Inc.
Language: English
ASIN: B06XQ544VG
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Amazon Best Sellers Rank:
#25,677 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
“Oil and Marble†delivers what I like best about good historical fiction. By breathing life into iconic historical figures, Ms. Storey reminds us that history didn’t just happen, but is the product of very human preferences, choices, and actions. The story itself was gracefully written, but also thoroughly entertaining. As a bonus, I also learned about Italian politics and Renaissance art. I especially appreciated the author’s knowledge of the “mechanics†of art, which gave this casual art observer better insight into the artistic process and what makes art great. I highly recommend this book.
I am not an art expert but I do have basic knowledge. When I started to read this book I was afraid that Ms. Storey would not be able to bring these artists to life for me. I was afraid it would be solely a history story with rather wooden characters. How wrong I was, I now have new insights into these two great artists, they are no longer just names but living breathing men. This is a great read and I thoroughly recommend it.
I understand the need of historical fiction writers to take creative license in their works, but the way in which Oil and Marble recounts the lives of Leonardo and Michelangelo is not a “historical fiction,†it is a “fictional history.â€For example, the author, Stephanie Storey, portrays Michelangelo as an unknown (almost naive), aspiring artist when he sculpted “La Pieta,†in Rome. In actuality, at that time, he was already recognized as a genial sculptor, and one of the most prominent artists in Florence.Also, the book suggests long-lived animosity between Michelangelo, and his father (as well as his family), as a result of his desire to be an artist. The reality is that, initially, his family opposed Michelangelo’s desire to become a painter and sculptor. Eventually, however, they accepted his powerful artistic drive. In fact, it was his own father who placed Michelangelo as an intern, at age 13, under the tutelage of Ghirlandaio; a highly reknowned Florentine artist. Hence, the endless pages claiming a lifetime of abuse and rejection endured by Michelangelo at the hands of his family do not make sense, whatsoever, and are unbearable to read.Likewise, Michelangelo did not always live as a destitute artist before he sculpted the David, as the author suggests. In fact, Michelangelo was adopted by Lorenzo de’ Medici, at around 16 years of age. Thus, he lived as royalty for the next four years until the death of Lorenzo.Equally misleading is the author’s narrative of an episode about a snow statue. According to Giorgio Vasari, Michelangelo’s biographer, he created a snow statue for Piero de’ Medici. Reportedly, however, the statue inspired admiration and awe, rather than ridicule and derision, as Storey incorrectly depicted. And, unlike she stated, this was absolutely not the reason he departed from Florence.In the same vein, there are a number of inaccuracies related to Leonardo.Storey indicates that “Oil and Marble is based on twenty years of research and grounded in real history...,†but she grossly misrepresents facts, and botches Italian words and phrases.She also states, “I have taken artistic license to tell the story of these two characters who have lived in my imagination for over two decades.â€In summary, if you want to read about characters imagined by the author, you will be fine; but, do not rely on this book to learn about the real history of Leonardo and Michelangelo, including their lives, interactions, motivations, etc. Pure BS.
Having very recently returned from a trip to Florence I dipped into this book, hoping it would teach me more about the city and the artists of the Renaissance. I am so glad I did. I kept returning to the twenty pictures I had taken of David and experiencing with anticipation and frustration the setbacks, the insecurity, the disrespect suffered by Michelangelo. We know he was a genius, but in this book he is shown as a young man inflamed by his passion for sculpture who is almost consumed by his desperate need to create, to be acknowledged by his family and his city, with little else in his world except the need to turn marble into immortal art. Leonardo da Vinci is shown as older, more vain, more sophisticated, more complicated and complex and finally more interesting. Also a genius, his adversary is primarily internal. He never completes any project. He is already famous and recognized as a genius and in art mad Italy, he is constantly being saved from his own follies. His greatest adversary is his own mind. He has so many ideas,he is on the one hand remote from the normal pressures of life, and, on the other, intensely lonely, competitive, and obsessed with his questions, his engineering designs, his need to conquer flight, and his own alienation from his father. The rivalry between possibly the two greatest artists of the millenium and the coincidence that their greatest masterpieces, the Mona Lisa and David, were both created at virtually the same time in the city of Florence, is the tension within this book. As well some of the greatest artists of the Renaissance are supplementary characters. Some of the story is fiction, but the two men and their art are real and the writer has brought them both to life on the page.
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