Giles Waterfield (1949–2016)
Auteur de The Hound in the Left-hand Corner
A propos de l'auteur
Œuvres de Giles Waterfield
The People's Galleries: Art Museums and Exhibitions in Britain, 1800–1914 (The Paul Mellon Centre for… (2015) 7 exemplaires
Dulwich Picture Gallery 5 exemplaires
A Nest of Nightingales: Thomas Gainsborough, The Linley Sisters (1988) — Directeur de publication — 5 exemplaires
Opening Doors: Learning in the Historic Environment 2 exemplaires
Étiqueté
Partage des connaissances
- Nom canonique
- Waterfield, Giles
- Nom légal
- Waterfield, Giles Adrian
- Date de naissance
- 1949-07-24
- Date de décès
- 2016-11-05
- Sexe
- male
- Nationalité
- UK
- Lieu de naissance
- Bramley, Surrey, England, UK
- Lieu du décès
- Derbyshire, England, UK
- Cause du décès
- heart attack
- Lieux de résidence
- London, England, UK
- Études
- Eton College
University of Oxford (Magdalen College)
Courtauld Institute of Art (M.A.|1975) - Professions
- art gallery director
novelist
art historian
curator - Relations
- Whoriskey, Joseph (partner)
- Organisations
- Dulwich Picture Gallery
Notre Dame University, London - Prix et distinctions
- McKittrick Prize (2001)
Membres
Critiques
Prix et récompenses
Vous aimerez peut-être aussi
Auteurs associés
Statistiques
- Œuvres
- 20
- Membres
- 387
- Popularité
- #62,499
- Évaluation
- 3.5
- Critiques
- 12
- ISBN
- 49
- Langues
- 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.… (plus d'informations)