The English Masterpiece by Katherine Reay

THE ENGLISH MASTERPIECE by Katherine Reay is described by the publisher as “perfect for fans of Kate Quinn and Ariel Lawhon.” Given that I enjoy their work (and Fiona Davis praised it, too) I truly expected to be able to recommend Reay’s latest historical fiction/mystery. The cover is beautiful and eye-catching, but the story moves slowly and the alternating narrators, young Lily and her boss, Diana, who work at London’s Tate Gallery, are not very engaging. Lily, especially, has issues of confidence and is constantly apologizing. Diana, though bravely battling misogyny in the 1970’s curation and art world in Britain, also struggles for recognition, especially from her older husband. They put on a terrific exhibition, but Lily naively (and publicly) calls Picasso’s Woman Laughing a forgery. Is it? Can she prove it? Will their careers survive? Why did she say that? Booklist calls THE ENGLISH MASTERPIECE “[a] fascinating look behind the scenes of art dealings and the workings of the museum;” hopefully readers interested in that aspect (like the Historical Novel Society which recommended this title) will have more patience than I did. The audiobook is narrated quite well by Fiona Hardingham and Saskia Maarleveld, but even listening at a higher speed does not really move the story along. 

I also just finished SOMEONE ALWAYS NEARBY by Susan Wittig Albert for a book group discussion. I was struck by the parallels since this, too, is historical fiction, about art, told by multiple narrators, and the younger main character apologizes profusely. Albert is writing about Georgia O’Keefe, and her “slave” (a term apparently used by O’Keefe), Maria Chabot. Chabot managed O’Keefe’s New Mexican properties for many years, apparently for little monetary reward. Once again, it is hard to understand the characters’ motivation. O’Keefe is described in third person and her thoughts about creativity and art are rarely shared. Instead, Maria relates a story (in first person) of exploitation for several decades beginning in the 1940’s. Albert clearly did a great deal of research; even though these women are not presented in a particularly flattering way, much of the book is based on the many letters between O’Keefe and Chabot. Albert also provides a list of recommended reading and her descriptions of the area rekindled my hope to visit New Mexico.