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The Forgery of Venus: A Novel
The Forgery of Venus: A Novel
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Author: Michael Gruber
Publisher: William Morrow
Category: Book

List Price: $24.95
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Avg. Customer Rating: 4.0 out of 5 stars(6 reviews)
Sales Rank: 8146

Media: Hardcover
Number Of Items: 1
Pages: 336
Shipping Weight (lbs): 0.7
Dimensions (in): 9 x 6.3 x 1.1

ISBN: 0060874481
Dewey Decimal Number: 813.6
EAN: 9780060874483
ASIN: 0060874481

Publication Date: April 1, 2008
Release Date: April 1, 2008
Availability: Usually ships in 1-2 business days

Editorial Reviews:

Product Description

Chaz Wilmot is a painter born outside his time. He possesses a virtuosic command of the techniques of the old masters. He can paint like Leonardo, Goya, Gainsborough—artists whose works sell for millions—but this style of painting is no longer popular, and he refuses to shape his talent to fit the fashion of the day. So Wilmot makes his living cranking out parodies for ads and magazine covers. A break comes when an art dealer obtains for him a commission to restore a Venetian palace fresco by the eighteenth-century master Tiepolo, for a disreputable Italian businessman. Once there, Wilmot discovers that it is not a restoration but a re-creation, indeed a forgery. At first skeptical of the job, he then throws himself into the creative challenge and does the job brilliantly. No one can tell the modern work from something done more than two hundred years ago.

This feat attracts the attention of Werner Krebs, an art dealer with a dark past and shadier present who becomes Wilmot's friend and patron. Wilmot is suddenly working with a fervor he hasn't felt in years, but his burst of creative activity is accompanied by strange interludes: Without warning, he finds himself reliving moments from his past—not as memories but as if they are happening all over again. Soon, it is no longer his own past he's revisiting; he believes he can travel back to the seventeenth century, where he lived as the Spanish artist Diego Rodriguez de Silva Velazquez, one of the most famous painters in history. Wilmot begins to fantasize that as Velazquez, he has created a masterpiece, a stunning portrait of a nude. When the painting actually turns up, he doesn't know if he painted it or if he imagined the whole thing.

Little by little, Wilmot enters a mirror house of illusions and hallucinations that propels him into a secret world of gangsters, greed, and murder, with his mystery patron at the center of it all, either as the mastermind behind a plot to forge a painting worth hundreds of millions, or as the man who will save Wilmot from obscurity and madness.

In Chaz Wilmot, we meet the rarest breed of literary hero, one for whom the reader feels almost personally responsible. By turns brutally honest and self-deceptive, scornful of the world while yearning to make his mark on it, Wilmot comes astonishingly alive for the reader, and his perilous journey toward the truth becomes our own.

The Forgery of Venus, a blend of erudition, unflagging narrative brio, and emotional depth, brings us inexorably toward the intersection where genius and insanity collide. Miraculously inventive, this book cements Gruber's reputation as one of the most imaginative and gifted writers of our time.




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5 out of 5 stars Fantastic Novel that Examines Art, Creativity, Sanity, and Madness   May 1, 2008
It's been suggested that there's a fine line between brilliance and madness, and it is exactly this edge of reason that becomes the centerpiece of exploration for "New York Times" best selling author Michael Gruber in his new work, "The Forgery of Venus." This brilliantly written, endlessly fascinating story focuses on the life of Chaz Wilmot, an artist of exceptional talent who has had to make a hard scrabble living from commercial work, even while living in the shadow of his father, a far more famous artist.

Chaz has led a less than exemplary life (doing drugs, acting out) and despite his superior talent (better than his father or other contemporaries), he finds himself desperate for money to help support his sick child who needs expensive medical treatment. To make ends meet, Chaz first agrees to participate in a drug study on creativity, but then receives an even more lucrative offer he finds he cannot refuse. His best friend, gallery owner Mark Slade, tells him about a ceiling in Venice that needs a secret restoration. This Tiepolo ceiling, however, is more re-creation than restoration, but the price is so tempting that Chaz agrees.

Thus begins the descent into confusion over his own identity and sanity. While in Italy, Chaz Wilmot continues to take the drugs stolen from the medical study on creativity, which have a transformative effect on him. When under their influence, Wilmot believes that he becomes the Spanish painter Velazquez. Adding to the insanity surrounding Wilmot are the motivations of his employer, a shady art dealer who has been accused of selling paintings stolen by the Nazis in World War II, who seeks to keep Wilmot in a questioning state so as to use his talent for forgery.

It is this descent into a mixture of madness and the full execution of Wilmot's own exceptional artistic talent that lay at the center of the novel. Which reality is true? Or can both be true at the same time? Can Wilmot believe what is happening to him or what he knows within himself to be true? Gruber is a master at using this novel to explore these issues and create for the reader the sort of confused state in which he imagines his own main character. Add to this his gripping tale of the life of Velazquez, the story of paintings stolen during World War II, and the issue of forgery and truth in art, and you have an amazing novel in which the line between sanity and insanity seems arbitrary at any given moment.

This hallucinatory state is so brilliantly and compellingly written that Gruber touches on something that seems nearly impossible to describe: the state of creativity. What makes art so interesting in part is its magic: Just how did the artist create the work? What was his state of mind? Because artists tend to live on the edge of society (apart in their craft and way of seeing the world), the rest of society seems to view them as "mad geniuses," an apt description in this novel.

The author himself has created something truly outstanding with this novel: He has allowed a peak into that world through his story and character Chaz Wilmot. He has created a book that is part mystery, part art history, part literary fiction and totally engrossing. Where is the line between madness and sanity? Although Michael Gruber may not answer that question in his novel, he certainly gives his readers plenty to think about.

Christine Zibas, Book Pleasures



2 out of 5 stars kiss-off, kissing cousins   April 24, 2008
  7 out of 15 found this review helpful

As we all know, Michael Gruber is the real person behind the first 14 Karp mysteries, the terrific books published with the name of Gruber's cousin, Robert Tanebaum, on the cover. Not that Tanenbaum called it quits when Gruber stopped ghosting him; and they now seem to be locked into some deadly family feud - deadly for readers, that is. When Gruber started his [entirely] own series, the three Jimmy Paz novels, I ran right out to read them and loved them almost as much as Lucy, Marlene, Butch and co., even though they are set in Miami, a venue I don't love. And then I read The Book of Air and Shadows.

Well.

In the three Jimmy Paz novels, Gruber gives us tribes-people from far, far away, from places of poverty beginning with A's - Africa, Amazonia. He gives us culture and ritual and wonderful languages, even glossaries of the wonderful languages.

But then, in The Book of Air and Shadows, he switches to another tribe, a tribe not so far away - just over at amazon dot com, in fact: academics. And there he lost me. I am an academic. And now I wonder, more than academically, just how the Chenka and the speakers of Olo and the people of Moie feel about the Michael Gruber. They were, perhaps, like Queen Victoria. Not.

OK, back to Gruber and his -- his what? If Gruber is the ghost, is Tanenbaum the corpse? Maybe.

So Gruber's last book, Air and Shadows, is set partly in a 17th- century manuscript and its environs. And here comes more of the family feud. In the latest Tanenbaum, what did I find? Tanenbaum (or, more to the point, his new ghosts, the people whom he acknowledges as he used to acknowledge Gruber) is setting scenes in the bleeping, in the -- wait for it -- in the 17th century!!!!! Too.

Oh, come on guys! And now Gruber has this book -- The Forgery of Venus -- about a man who may or may not fake wonderful paintings. (A ghost, get it?) As with Air and Shadows, there are two men in New York, one solid, one brilliant, very close friends from college, so close you might call them . . . well, cousins. There's guilt; there's resentment; there's more ego than backstage at the Met.

Oh my, is this starting to sound familiar?

I wish I could like this book, but its self-indulgent first-person narrator is so busy being an exploited/misunderstood genius that there's no time for a plot, let along a theme. No wit. No light.

No light, but darkness visible.

I suppose in the next pseudo-Tanenbaum we can look for lots of vocabulary from painting and the wardrobes of Renaissance clerics. My vote is for Tanenbaum signing the rights to the Karp/Ciampi clan over to Gruber or - failing that - that Gruber would go back to Miami with the Paz family. Settling personal scores on the backs of your faithful readers is surely one of the newly revised Seven Deadly Sins.

Or it should be.



4 out of 5 stars Interesting...   April 15, 2008
  2 out of 3 found this review helpful

This was the second book by Michael Gruber that I have read and thought it was really interesting and enjoyable.

This book reminds me a bit if SHUTTER ISLAND by Dennis Lehane. What is really going on here? Is the main character insane, disturbed or completely rational? Gruber does a great job with his characters; defining them clearly and making them come to life. Chaz Wilmot is a great anti-hero. Definitely flawed, but you like him anyway. In fact he's a bit like Jake in THE BOOK OF AIR AND SHADOWS.

The plot is a little difficult to follow, but if your really paying attention, you will be able to follow along. This is a book that's well worth reading. You'll even learn a little something about art.



5 out of 5 stars unique odd thriller   April 13, 2008
  7 out of 13 found this review helpful

Chaz Wilmot's father C.P. Wilmot as he signed his work is a highly regarded illustrator. However, Chaz is much more talented than his dad or any of his contemporaries. Still they sell while he hacks out a living doing commercial crap. His former wife Lotte, owner of an art gallery, is disappointed in Chaz as she recognizes his talent and believes he would sell big time; but he feels obligated to avoid the starving artist syndrome since they need money now for their ailing son.

Chaz accepts work to restore a ceiling in a Venus palazzo. Before the trek overseas, a friend from their Columbia University days gives him a hallucinatory drug. In Italy, he finds the assignment exciting as it calls for a recreation rather than a restoration. With the aftereffect of the drug enabling him to focus while he somehow lives the life of noted seventeenth century artist Diego Velasquez, he becomes the Renaissance master past and present. As Chaz worries about his sanity with each time travel trek eradicating a piece of his memories, the art forger underground offer him wealth that will provide the best medical care in the world for his child in exchange for a few Velasquez masterpieces.

This unique odd thriller is a terrific character study as Chaz is caught between his talent, what sells, his essence and his son's life. In a Twilight Zone like way, as he becomes more like Velasquez, the protagonist becomes less Chaz; yet if he quits he loses the opportunity for funding his beloved child's medical needs. THE FORGERY OF VENUS is a strong tale starring a fascinating lead character who must make difficult choices amongst the art of love.

Harriet Klausner



4 out of 5 stars Art Is Not The Subject   April 9, 2008
  8 out of 8 found this review helpful

Michael Gruber is a fine writer. I have read all of his published work with the exception of "The Witch's Boy". The omission is not for a specific reason; I simply have not gotten to that work as of yet. Just as he did with "The Book Of Air And Shadows" he provides the reader with the background that is necessary for the enjoyment of this work. You did not need to be a scholar of Shakespeare to enjoy his last book and you need not be an art history major any more than you need a degree in psychiatry or medicine to enjoy his offering this time through.

This book is about reality and various characters perception of it. The views of events are made more complex because of the history of the main character and those around him who witnessed his bizarre and destructive behavior. Perception of experience in general and events in particular make for fascinating discussion with sober minds and witnesses with integrity. The author has given us a protagonist who is at once gifted and terribly self-destructive. His recreational drug use suggests he has the constitution of a lab rat. When sober he then becomes a voluntary test subject for mind-altering drugs in a clinical study.

Once this begins things get a bit too muddled. We don't need a Nazi playing the role of resident evil and the cast of characters ready to exploit the main character regardless of the damage to him is remarkable for these are not all strangers. Mr. Gruber gives us acquaintances of varying degree to demonstrate how horrible we can be to one another. I also felt the debates between characters in the book about what is real truly was about what is expedient. Self-interest trumps insight in this tale.

I really enjoy this author and I look forward to what he will bring next. Despite some bits I found annoying I like the central character in this work and would happily enjoy reading of him again. Mr. Gruber has written multiple books with the same characters in the past, I hope he does so once more.



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