Giles Waterfield (1949–2016)
Autor von The Hound in the Left-hand Corner
Über den Autor
Werke von Giles Waterfield
The People's Galleries: Art Museums and Exhibitions in Britain, 1800–1914 (The Paul Mellon Centre for… (2015) 7 Exemplare
Dulwich Picture Gallery 5 Exemplare
Getagged
Wissenswertes
- Gebräuchlichste Namensform
- Waterfield, Giles
- Rechtmäßiger Name
- Waterfield, Giles Adrian
- Geburtstag
- 1949-07-24
- Todestag
- 2016-11-05
- Geschlecht
- male
- Nationalität
- UK
- Geburtsort
- Bramley, Surrey, England, UK
- Sterbeort
- Derbyshire, England, UK
- Todesursache
- heart attack
- Wohnorte
- London, England, UK
- Ausbildung
- Eton College
University of Oxford (Magdalen College)
Courtauld Institute of Art (M.A.|1975) - Berufe
- art gallery director
novelist
art historian
curator - Beziehungen
- Whoriskey, Joseph (partner)
- Organisationen
- Dulwich Picture Gallery
Notre Dame University, London - Preise und Auszeichnungen
- McKittrick Prize (2001)
Mitglieder
Rezensionen
Auszeichnungen
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Nahestehende Autoren
Statistikseite
- Werke
- 20
- Mitglieder
- 387
- Beliebtheit
- #62,499
- Bewertung
- 3.5
- Rezensionen
- 12
- ISBNs
- 49
- Sprachen
- 1
To be fair, I wasn’t quite as rampantly enamoured of it the second time around, although I did still enjoy it, and was glad to have reread it. The book follows a number of characters based at the fictitious Brit Museum, situated on the South Bank of the Thames, which is about to hold a special exhibition called ‘Elegance’, the star exhibit of which will be a little-known painting by Gainsborough, owned by the Chairman of the Museum’s Board of Trustees.
Much of the book, which is encompassed within the span of a single day, follows the machinations between various curators and experts at the museum, along with its current director (who years for a similar position at a more prestigious institution) and the Chair of the Trustees, who has his own vested interests. There are some closely-observed snipes at various sacred cows within the professional art world, and some intriguing insights into the way that art exhibitions are arranged.
Reading it now, twenty years after first encountering it, I found some of the humour slightly clumsy, although that may simply reflect the accrual of two more decades’ worth of cynicism about such things. There are some glorious moments of satire, and intriguing glimpses of the relationships between commerce and the art world. I am glad I re-read it.… (mehr)