Read Online Plunder: Napoleon's Theft of Veronese's Feast By Cynthia Saltzman

Read Online Plunder: Napoleon's Theft of Veronese's Feast By Cynthia Saltzman

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Plunder: Napoleon's Theft of Veronese's Feast-Cynthia Saltzman

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One of The Christian Science Monitor's Ten Best Books of May"A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street JournalA captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from VeniceCynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

Book Plunder: Napoleon's Theft of Veronese's Feast Review :



The centerpiece of this fine new work by Cynthia Saltzman is Paolo Veronese's Wedding Feast At Cana, a beautiful and enormous painting created at the height of Venice's power and glory in the High Renaissance. While Venice gradually declined over the next two centuries the Feast remained a magnificent symbol of the city's greatness. Then in the 1790s the Feast became a new symbol for a newly powerful figure, Napoleon Bonaparte, who led the French armies on a dramatic string of conquests across Italy, seizing artworks along with territory and other riches to enhance the already magnificent museums of Paris. The Feast was shipped off to Paris and installed in the Louvre, where it became and remains one of the greatest symbols of Napoleon's power. Now more than two centuries after the end of Napoleon's empire the Feast continues to draw admiration and devotion.I loved Plunder on several levels. As an historian I appreciated the clear and dramatic descriptions of Renaissance Venice and the Napoleonic Wars and their aftermath. As an art lover I was entranced by the beautiful analyses of the Feast and other works, which helped me see and understand so much more about them. Above all, I enjoyed the masterful way in which Saltzman depicts the personalities and preoccupations of Veronese himself, the Venetian politicians, artists, and curators who dealt with the Feast there, and of course Napoleon, his generals, his opponents, and the many other artists and guardians who cared for the Feast in France.Plundering of artwork as an aftereffect of conflicts and revolutions has been going on for many centuries, and works such as Plunder are vitally important in helping us understand what is at stake when art is regarded as a spoil of war.
At the height of his power, while Napoléon was leading his victorious armies across Europe, he was also engaged, with equal enthusiasm, in another mission - looting some of the most treasured works of fine art from the conquered territories - mostly in Italy but also in Germany, Austria, Belgium and the Netherlands. These were destined to adorn the galleries of the newly created Musée du Louvre in Paris. This new book summarises these exploits in a most engaging manner.The focus is on what was perhaps the the most monumental theft - the removal of Paolo Veronese's spectacular painting, Le Nozze di Cana, from the Benedictine monastery of San Giorgio Maggiore in Venice. The story of how this huge canvas (more than six hundred square feet) was pried from its architectural frame and stretchers, then rolled and transported to Paris and finally reassembled in the Louvre (where it still hangs), almost resulting in its destruction, is fascinating.Saltzman also gives accounts of Napoléon's other acquisitions, which occurred on a scale not seen again until WWII. He demanded one hundred masterpieces from the Papal States alone.In recounting this history, Saltzman also provides information about the art of the Renaissance and the artists who created it. Very interesting.This book provides delicious insight into an aspect of Napoléon's adventures that is not even mentioned in biographies of the Emperor. It will be much appreciated by followers of Naopléon, lovers of art history and anyone else just interested in a good read.

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