Italy in the early 1960s: a dying painter considers the sacrifices and losses that have made him an enigma, both to strangers and those closest to him. He begins his last life painting, using the same objects he has painted obsessively for his entire career - a small group of bottles. In Cumbria 30 years later, a landscape artist - and admirer of ...
Italy in the early 1960s: a dying painter considers the sacrifices and losses that have made him an enigma, both to strangers and those closest to him. He begins his last life painting, using the same objects he has painted obsessively for his entire career - a small group of bottles. In Cumbria 30 years later, a landscape artist - and admirer of the Italian recluse - finds himself trapped in the extreme terrain that has made him famous. And in present-day London, his daughter, an art curator struggling with the sudden loss of her twin brother while trying to curate an exhibition about the lives of the twentieth-century European masters, is drawn into a world of darkness and sexual abandon. Covering half a century, this is a luminous and searching novel, and Hall's most accomplished work to date.
New. The lives of four individuals— a dying painter, a blind girl, a landscape artist, and an art curator— intertwine across nearly five decades in this luminous and searching novel of extraordinary power. With How to Paint a Dead Man
Publishers Weekly, 2009-07-27 Stunning visual descriptions link the stories of four artists in crisis in Hall's fourth novel (after Daughters of the North), but marginal, cross-generational relationships are what ground the book. Giorgio is a well-known painter and hermit in Italy in the 1960s, the near-blind Annette his favorite primary school student. Peter is a 50-something landscape artist in England, and Peter's daughter, Susan, a talented photographer and curator. Giorgio has cancer and for his final days tackles one last painting of his constant subject, colored bottles. Soon after his death, Annette tends his grave, innocent and fearful and now completely blind, fearing imaginary things like the Bestia-a demon that is depicted in her church. Thirty years later, Peter, who corresponded with Giorgio, is pinned under a boulder near his cottage, and contemplates the haunting relationship he had with his ex-wife, while in present-day London, Susan searches for feeling (through sex) after the sudden loss of her twin brother. Hall gracefully conveys a sense of the eternal through these imaginative, disconnected creatures who share the same unrelentingly contemplative disposition. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
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