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Novelist and essayist Hilary Masters recreates a moment in 1940s Pittsburgh when circumstances, ideology, and a passion for the arts collided to produce a masterpiece in another part of the world.
E. J. Kaufmann, the so-called "merchant prince" who commissioned Frank Lloyd Wright's Fallingwater, was a man whose hunger for beauty included women as well as architecture.
He had transformed his family's department store into an art deco showcase with murals by Boardman Robinson and now sought to beautify the walls of the YM&WHA of which he was the president. Through his son E. J. Kaufmann, jr (the son preferred the lowercase usage), he met Juan O'Gorman, a rising star in the Mexican pantheon of muralists dominated by Diego Rivera, O'Gorman's friend and mentor.
O'Gorman and his American wife spent nearly six months in Pittsburgh at Kaufmann's invitation while the artist researched the city's history and made elaborate cartoons for the dozen panels of the proposed mural. Like Rivera, O'Gorman was an ardent Marxist whose views of society were radically different from those of his host, not to mention the giants of Pittsburgh's industrial empire-Carnegie, Frick, and Mellon. The murals were never painted, but why did Kaufmann commission O'Gorman in the first place? Was it only a misunderstanding?
In the discursive manner for which his fiction and essays are noted, Masters pulls together the skeins of world events, the politics of art patronage, and the eccentric personalities and cruel histories of the period into a pattern that also includes the figures of O'Gorman and his wife Helen, and Kaufmann, his wife Liliane, and their son. Masters traces the story through its many twists and turns to its surprising ending: E. J. Kaufmann's failure to put beautiful pictures on the walls of the Y in Pittsburgh resulted in Juan O'Gorman's creation of a twentieth-century masterpiece on a wall in the town of Pátzcuaro, Mexico.
- Sales Rank: #1669130 in Books
- Brand: Brand: University of Pittsburgh Press
- Published on: 2005-04-04
- Original language: English
- Number of items: 1
- Dimensions: 7.50" h x .70" w x 8.00" l, .83 pounds
- Binding: Hardcover
- 130 pages
- Used Book in Good Condition
Review
“Lovely, enigmatic.”
--Cleveland Plain Dealer
“Masters’ explorations make for a thought-provoking and entertaining book. He grounds his statements in a well-informed view of social history, to the point that linking the wild Mexican mural with Pittsburgh’s own smoggy history does not seem far-fetched at all.”
--Pittsburgh Post-Gazette
From the Back Cover
"A virtuosic and ingenious riff, a labor of love."--Edward Hoagland AUTHORBIO: Hilary Masters is the author of eight novels, two collections of short stories, a book of essays, and a family biography, Last Stands: Notes from Memory, that has been called "an American classic." The American Academy of Arts and Letters has given his work its Award for Literature.
About the Author
Hilary Masters\ is the author of eight novels, two collections of short stories, a book of essays, and a family biography, Last Stands: Notes from Memory, that has been called "an American classic." The American Academy of Arts and Letters has given his work its Award for Literature..
Most helpful customer reviews
4 of 4 people found the following review helpful.
Montaigne's Novella
By WLW
This book's striking cover caught the eye of many a potential juror as I read it while spending a day waiting to be placed on a panel of prospective jurors. What's more striking than the cover, though, is the prose inside and the artful way in which Masters has created scenes with the same photographic skill that has made his memoir, Last Stands, an American classic.
The book is aptly described as part history, part fiction, all essay and one can't help but wonder that if the father of the essay had written a novella, this is surely what it would havve looked like.
Time and memory and the way in which memory allows us to travel in time (but always in an altered, often better, condition) are often the subject of Masters's work. Here, though, one sees the inner workings of his process as he forges a coherent narrative out of scant details and very few recollections. Reading this book is like watching an accomplished mathematician work out a solution to a famous unsolved problem. Except, the solutions here are presented as scenes of what might have happened.
And like a mathematician, Masters has the same up-front honesty: he acknowledges where his answers might be lacking. He hastens to add, however, that the truth is rarely as interesting as fiction, as what we remember: "My old friend and mentor Wright Morris once told me," he writes, "pass any fact through the human mind and it immediately becomes fiction."
Artists, affairs, robber barons and one giant attempt at a meaningful narrative produce a great read that never disappoints and often surprises.
6 of 8 people found the following review helpful.
Noit enough research
By Maria
This book was certainly interesting reading. Although as Juan O'Gorman's daughter I was very offended by Mr. Masters portrayal of the relationship my father had with me.
Our relationship was far from the "chilly" one described by Masters. I do not know where Mr. Masters got his facts, but when he contacted me he was only interested in what happened in Pittsburg which occured prior to my birth. Mr. Masters did not collect any information from me, about my full lifetime with Juan O'Gorman and Helen.
Masters carries on about a surgery my mother had, she had gallbladder surgery, not an abortion as he contends.
Another falacy was that Juan and Helen were divorced at the time of Juan's death,they had divorced and remarried pror to my birth, but I took care of all the legal affairs following my father's death and nowhere was there anything about them being divorced at that time. Helen did not leave Mexico and Juan to move to the US with me, she had come to the U.S. for medical care related to lung cancer, she returned to Mexico only to find he had commited suicide. These many "inacuracies" are hurtful to myself and my family.
2 of 4 people found the following review helpful.
just don't assume it is art history
By J. Oles
Whatever the literary merits of this short essay might be and keeping in mind the author himself reminds us that history is fiction and has no pretense of being a historian, I caution readers who, misled by the title, might think of this as somehow "art history". It is not. But I still have to point out that there are several errors that not even a dilettante (or non-historian) with -as he states- access to the Internet need make. For ex., it was the Cárdenas not Calles regime that censored O'Gorman's airport mural, and not because that regime was "flirting with fascism"; the Rivera-Kahlo studios are 1930 not 1936, and there is no Taxo (maybe Taxco: what about a spell check?). The "history" that gives him a story and helps him sell the book is sloppy, so much so that one is led to dismiss all the other other dates and points, like the gossipy innuedoes that are "retracted" sentences later, though the mud sticks. I don't blame O'Gorman's family for being less than enthusiastic.
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