Review by Booklist Review
Shapiro's (The Muralist , 2015) latest is a lush, atmospheric, art-world-focused historical novel that draws on the story of Philadelphia's famed Barnes Foundation. The novel opens with 19-year-old Paulien Mertens being disowned by her wealthy Belgian family and banished to Paris in 1922 after her con-artist fiancé, George, bankrupted her father in a Ponzi scheme in which she is accused of being complicit. Having been trained by her father to one day assume responsibility for his impressive art collection, Paulien creates a new identity for herself as Vivienne Gregsby and takes a position as a translator for the flamboyant American collector Edwin Bradley. Though she eventually relocates to Philadelphia with Edwin as he builds the Bradley Museum, Vivienne never loses sight of her ambition to exact her revenge on George and restore her father's wealth and lost collection by any means necessary. And then her benefactor is murdered, and suspicion falls squarely upon her. Intricate plotting and compelling writing draw readers into the vivid portrait of 1920s Paris, inhabited by actual, larger-than-life characters, including Gertrude Stein and Henri Matisse. Shapiro's romantic and suspenseful art thriller will delight historical- and crime-fiction fans.--Magan Szwarek Copyright 2018 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Shapiro (The Muralist and The Art Forger) delivers a clever and complex tale of art fraud, theft, scandal, murder, and revenge. Nineteen-year-old Paulien Mertens is alone and on the run in Paris in 1922, disowned by her Belgian family and hunted by the police, falsely accused of participating with George, her con artist fiancé, in a financial scam that ruined her father. She creates a new identity as art expert Vivienne Gregsby, landing a job working for wealthy Philadelphia art collector Edwin Bradley as a translator and secretary for his buying trips. In Paris, she becomes friends with Gertrude Stein and with Henri Matisse's lover. All the while, she vows to prove her innocence and restore her father's wealth, which she plans to do by obtaining possession of Bradley's art collection, either by marrying him, becoming his heir, or staging a robbery. Vivienne has learned much about the art of the con from George, but when Bradley is suddenly murdered, derailing Vivienne's plans and landing her in jail, she'll need all her skills to set things right. Shapiro's portrayal of the 1920s art scene in Paris and Philadelphia is vibrant, and is populated by figures like Alice B. Toklas and Thornton Wilder; readers will be swept away by this thoroughly rewarding novel. (Oct.) © Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
The best-selling author of The Art Forger and The Muralist returns to the art world in a new novel about the heroes and villains of early 20th-century collecting. In 1922 Paris, Belgian Paulien Mertens reinvents herself as Vivienne Gregsby after a confidence scheme destroys her family's wealth and respect. Vivienne finds employment with Edwin Bradley, a wealthy U.S. collector who shares her appreciation for postimpressionist works. Vivienne attempts to keep her married employer at arm's length while encouraging his patronage of the artists they both admire. Edwin insists on keeping his vast holdings private. Vivienne disagrees and plans to take over the collection and share it with the public. Her ideas turn dangerous and her motivations become suspect when the con man who ruined Paulien returns to ensnare -Vivienne. VERDICT Shapiro once again successfully combines the work of real artists and the analysis of art movements with a cast of dramatic characters, both fictional and not. Her latest is an absorbing read where what is right and wrong constantly shift. An excellent recommendation for fans of historical fiction and art novels. [See Prepub Alert, 4/9/18.]-Catherine Lantz, Univ. of Illinois at -Chicago Lib. © Copyright 2018. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
A woman with a shameful past, now in search of revenge and her family's forgiveness, finds herself assisting an irascible patron of the arts who is building one of the world's great private art collections. But will his paintings ever be hers?Inspired by the story of Philadelphia's famed Barnes Foundation but fictionalized with a sizeable swirl of sensationalism, Shapiro's (The Muralist, 2015, etc.) latest art-world novel spans three timelines involving Belgian Paulien Mertens, who grew up in a home graced by a collection of valuable art, including seven modern works by groundbreaking postimpressionists including Czanne and Matisse. As the novel opens in Paris in 1922, Paulien, aged 19, has been banished from her home and family, which has been bankrupted in a Ponzi scheme launched by her fianc, George Everard. Flashing back periodically to 1920, the novel shows how innocent Paulien fell into George's trap; flashing forward to 1928, it reveals her reincarnated as Vivienne Gregsby, on trial for the murder of Dr. Edwin Bradley, a rich American chemist who was amassing a vast collection of postimpressionist art, including those seven Mertens paintings which Paulien dreams of restoring to her father. The central 1922 thread traces Paulien's rebirth as Vivenne, her developing involvement with Bradley, and her move to the U.S. and yearning to inherit his collection herself. But whether flirtingand sleepingwith Matisse, palling around with Gertrude Stein, reuniting dubiously with George, or plotting in secret against Bradley, Paulien is a character short on both conviction and charm. And as the tale enters a late, repetitive spiral of machinations, a credulity-stretching mood intensifies.Less might have been more in this increasingly convoluted fusion of history and fantasy centered on an ambiguous central figure. Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
