The Eye: An Insider’s Memoir of Masterpieces, Money, and the Magnetism of Art

Major take-away is need to give Pontormo and Bronzino a second serious look. As an undergrad, relegated both to the Mannerist period, we now learn is pejorative term. Pretty interesting, actually. Never, ever heard that. Also really enjoyed back-story insider data on Bernard Berenson and Mrs. Gardner. Was fortunate to have spent an afternoon at his Settinango house studying back in the day courtesy of my professor’s connections. There are some other cool details that even a lowly civilian art fan can enjoy. But it is all largely ruined by the fits of ” I, I, I, me, me” that lurk always just a paragraph away. The last several pages are particularly egregious.

A passionate defense of the highly-specialized role of the informed and intuitive art expert, especially as focused on talented European painters of centuries past. The few members of this select international world of experts are not museum curators, dealers, or formal academics; they are the descendants of such true connoisseurs as Bernard Berenson.

Philippe Costamagna, a man with a well-developed ego, writes an interesting tale that weaves his life story with the role of the “eye” in identifying the actual artist ( not assessing the value) of a particular painting or drawing.

Those with an interest in fine paintings and the commercial art world will almost certainly enjoy this book.

What a great understanding of how to appreciate art this book gives, I doubt most understand that those who understand works are students of multiple disciplines. I love this book

This intuitive insiders look at the world of art history and the making of attributions is fascinating. Written by an ‘eye’ this trim volume traces the authors evolution from a student of Berenson, Longhi, and Zeri, 3 renowned Italian ‘eye’s to making accepted declarations on his own. His clarity gives the reader an inside view on this vital part of the world of art . The author is one of those people of whom it cannot be said: ‘They wouldn’t recognize a masterpiece unless they had already seen a slide of it.’ which is a truthful statement which can be said of most ‘art history’ people.

An unusual book, pedantic author but he has right to be so; illustrative if boring at times

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