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Breakfast at Sotheby's: An A-Z of the Art World
Breakfast at Sotheby's is a wry, intimate, truly revealing exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby's. Reading it is like participating in a hugely enjoyable personal tutorial given by a cultured, witty, clear-eyed, world teacher with a fully functioning sense of humour. A real delight . (Spectator). Hook's view of the art world is that of the professional auctioneer. In an A-Z format, it is an entire art education contained in under 350 pages. Wry, dry and completely beguiling . (William Boyd, Guardian, Books of the Year). How to nail the mad, bad, crazy contemporary art world in print? Sotheby's senior director Hook draws on 35 years' experience in this informal memoir. He unravels, with humour, piquancy and erudition, what drives the economics of taste . (Financial Times, Books of the Year). It's very hard to write an amusing book about art that has some serious things to say. But Philip Hook has done it . (Sunday Times, Books of the Year). An auctioneer's alphabet of quirky reflections and off-beat lists such as 'middle-brow artists' and 'fictional artists': an ideal volume for the art-lover's bedside . (Martin Gayford, Spectator, Books of the Year). His delightful Breakfast at Sotheby's is a house sale of a book, a chance for him to clear out 35 years of memories as an art dealer and auctioneer, first at Christie's and then Sotheby's, a rival auction house . (Economist). Philip Hook is a director and senior paintings specialist at Sotheby's. He has worked in the art world for thirty-five years during which time he has also been a director of Christie's and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC's Antiques Roadshow.
347 pages, Paperback
First published November 7, 2013
135 people are currently reading
1881 people want to read
About the author
Philip Hook
16 books29 followersPhilip Hook joined Sotheby’s Impressionist and Modern Art Department as the senior specialist in 1994. Sotheby’s is the most prestigious Fine Art Auction House in the UK. He read History of Art at the University of Cambridge where he also won a soccer blue. In 1973 Philip joined Christie’s directly from University. He headed Christie’s 19th Century Paintings Department from 1980 to 1987. In between working at the two auction houses he founded a London art dealers, The St. James’s Art Group.
He has over 35 years of experience and expertise of the art market, he is the author of five successful novels set in the art world and his book Breakfast at Sotheby’s: An A-Z of The Art World was published by Penguin in November 2013. The latter discusses art’s value as an investment and its place in our society.
Philip has appeared regularly on The Antiques Roadshow (BBC) as a picture expert. He makes frequent public speaking appearances, covering a range of art-related subjects.
Philip’s latest book, Rogues’ Gallery: A History of Art and its Dealers (Feb 2017) exposes five centuries of history, scandals, big wins and horrifying losses in the international art world.
He has over 35 years of experience and expertise of the art market, he is the author of five successful novels set in the art world and his book Breakfast at Sotheby’s: An A-Z of The Art World was published by Penguin in November 2013. The latter discusses art’s value as an investment and its place in our society.
Philip has appeared regularly on The Antiques Roadshow (BBC) as a picture expert. He makes frequent public speaking appearances, covering a range of art-related subjects.
Philip’s latest book, Rogues’ Gallery: A History of Art and its Dealers (Feb 2017) exposes five centuries of history, scandals, big wins and horrifying losses in the international art world.
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Displaying 1 - 30 of 81 reviews
January 25, 2021
Suppose you are an ordinary art lover, an occasional museum goer, or an amateur artist, or, you've inherited some money so you are thinking of investing in art. You get an invitation--no, you buy a ticket--to have breakfast at Sotheby's with one of their in-house art experts, Philip Hook. In the next hour, instead of giving you a lecture, Mr. Hook recounts anecdotes and insider jokes about arts, artists and money, all in a casual, rambling style. That's what reading Breakfast at Sotheby's: An A-Z of the Art World makes me feel--exactly like having a casual conversation with a knowledgable, funny expert.
This book is collection of short essays organized as a dictionary in five parts. Philip Hook worked for Sotheby's and Christie, and appeared in the popular Antique Roadshow on BBC from 1978 to 2003. The writing is humous, mixed with the author's self-deprecating cynicism. Arts are serious, but also fun! Don't be embarrassed by the talk of money!
Some quotes:
Banality + Irony = Art
Banality - Irony = Do you think I am stupid, trying to sell me this bag of rubbish for $100, 000?
Appropriationism + Irony = Pop Art
Appropriationism - Irony = Plagiarism
And who knew there is a big difference between "museum quality" and "museum picture"!
The funniest is the mini glossary, which reminds of Perfumes: The Guide. Examples:
accessible: euphemism for obvious or superficial
dichotomous: fashionable word to indicate a contrast or contradiction, e.g. "dichotomous tension between distance and proximity" (translation: "there's a foreground and a background in this painting")
journey: artists don't have careers anymore, they go on journeys
signature work: easily recognized, as in "I am looking for a signature work by Monet." (translation: One that all my friends will identify the moment they walk into my drawing room)
subtle: dark, e.g., "The subtle tones of Theodore Rousseau's foliage."
tenebrist: literally shadowy; pretentious word for "dark" (see subtle)
unmediated: direct, simple. A pretentious word for "immediate"; as in a work of installation art which "forges an unmediated relationship between floor and ceiling" (translation: it's an empty room)
There are occasional sexism and racism remarks not made but quoted by the author.
This book is collection of short essays organized as a dictionary in five parts. Philip Hook worked for Sotheby's and Christie, and appeared in the popular Antique Roadshow on BBC from 1978 to 2003. The writing is humous, mixed with the author's self-deprecating cynicism. Arts are serious, but also fun! Don't be embarrassed by the talk of money!
Some quotes:
Banality + Irony = Art
Banality - Irony = Do you think I am stupid, trying to sell me this bag of rubbish for $100, 000?
Appropriationism + Irony = Pop Art
Appropriationism - Irony = Plagiarism
And who knew there is a big difference between "museum quality" and "museum picture"!
The funniest is the mini glossary, which reminds of Perfumes: The Guide. Examples:
accessible: euphemism for obvious or superficial
dichotomous: fashionable word to indicate a contrast or contradiction, e.g. "dichotomous tension between distance and proximity" (translation: "there's a foreground and a background in this painting")
journey: artists don't have careers anymore, they go on journeys
signature work: easily recognized, as in "I am looking for a signature work by Monet." (translation: One that all my friends will identify the moment they walk into my drawing room)
subtle: dark, e.g., "The subtle tones of Theodore Rousseau's foliage."
tenebrist: literally shadowy; pretentious word for "dark" (see subtle)
unmediated: direct, simple. A pretentious word for "immediate"; as in a work of installation art which "forges an unmediated relationship between floor and ceiling" (translation: it's an empty room)
There are occasional sexism and racism remarks not made but quoted by the author.
February 2, 2022
About a year ago I received my first big-boy high finance bonus and decided to buy a piece of artwork from a Sotheby's auction. I was outbid presumably by someone who had received an even bigger-boy bonus. I then reallocated the money and attempted to buy a collectible watch, just to be outmaneuvered once again. Finally, I took my money and ... bought crypto.
When attempting to uncover the secrets of the art world and understand things like provenance, storage, insurance, shipping, hammer fees, and all the other stuff, I found myself wishing that someone else had already performed the legwork.
A little late to the game, I found Philip Hook's book and spent a day reading it. It covers all the bases while remaining entertaining and witty, even for a casual finance bro like me. I like books like this because they lend themselves naturally to taking detours, in this case checking out past auction results and perusing the works of well-known artists. Should I ever make another attempt at purchasing such a precious status symbol, I will be better prepared than I was the first time.
When attempting to uncover the secrets of the art world and understand things like provenance, storage, insurance, shipping, hammer fees, and all the other stuff, I found myself wishing that someone else had already performed the legwork.
A little late to the game, I found Philip Hook's book and spent a day reading it. It covers all the bases while remaining entertaining and witty, even for a casual finance bro like me. I like books like this because they lend themselves naturally to taking detours, in this case checking out past auction results and perusing the works of well-known artists. Should I ever make another attempt at purchasing such a precious status symbol, I will be better prepared than I was the first time.
February 3, 2014
Delicious look at the art world through expensively and impeccably framed glasses. The stacking of commissions as paintings make their way, La Ronde-like through the portfolios of dealers world-wide. The shockingly middlebrow minutiae that guarantees a bonanza at auction. In spite of all he has encountered Hook is never boring nor cynical. Best line: Ringing up Sotheby's: "May I have John Brown, please?" "I don't see why not, everyone else already has." Tee-hee.
January 16, 2016
Interesting nuggets of information are a bit lost in the gimmicky dictionary layout - sadly rather a case of concept drowning content! And this is such a shame, as the broad questions laid out in the introduction - what makes art attractive? followed by, what's it worth and what gives it value? - are so interesting. Part of this issue, though, might be caused by me not being the intended audience, i.e. an interested art layman/woman… There are definitely still interesting points and amusing anecdotes that make the dodgy layout worth coping with!
One other thing that annoyed me was the almost complete ignoring of non-Western art & art markets. I understand that Hook himself deals with European art, but “An A-Z of the Art World” shouldn’t really ignore large swathes of said world. The only real time the non-Western art world is mentioned (repeatedly) is in relation to the Japanese art buying boom of the late 1980s. Again, I understand that this is something Hook had personal knowledge of, because apparently they went mad for Impressionists, but it can’t be the only example he can think to use! There are some really glaring omissions, for example when talking about different countries’ heritage laws, he only discusses those of America and various European countries - when Japan has some of the strictest heritage laws around and would make an interesting comparison. It’s almost as if he’s suggesting “who would want to buy art from there?”…
One other thing that annoyed me was the almost complete ignoring of non-Western art & art markets. I understand that Hook himself deals with European art, but “An A-Z of the Art World” shouldn’t really ignore large swathes of said world. The only real time the non-Western art world is mentioned (repeatedly) is in relation to the Japanese art buying boom of the late 1980s. Again, I understand that this is something Hook had personal knowledge of, because apparently they went mad for Impressionists, but it can’t be the only example he can think to use! There are some really glaring omissions, for example when talking about different countries’ heritage laws, he only discusses those of America and various European countries - when Japan has some of the strictest heritage laws around and would make an interesting comparison. It’s almost as if he’s suggesting “who would want to buy art from there?”…
March 9, 2025
Knyga ne tai ko tikėjausi, bet pasirinktas pasakojimo kampas buvo įdomus ir nenuvylė. Ko tikėjausi? Kad pagrindinė tema bus daugiau apie autoriaus darbo specifiką, užkulisius, jo karjerą, kelią. Tačiau šioje knygoje to buvo tik nuotrupos, nors ir labai įdomios. Autorius daugiau pateikė trumpus, bet kartu ir informatyvius atsakymus į klausimą: kas paverčia meną vertingu? Apžvelgia daugybę kriterijų (pvz, kiek pardavimo sėkmei gali reikšmės turėti parinktas tinkamas rėmas paveikslui ar jei autorius pasitraukė iš gyvenimo anksti, jo darbai bus labiau vertinami), vieni labiau akivaizdūs, kiti daug labiau subtilesni, nustebinantys. Tai nėra viena tų negrožinių knygų, kuri patiks visiems, net ir nesidomintiems minimaliai menu, nepavadinčiau jos labai universalia ir prieinama. Tačiau jei turite bent mažą potraukį šios tematikos knygoms, tikrai rekomenduoju, manau atrasite kažką negirdėto ar pažvelgsite į paveikslus kitomis akimis.
April 27, 2017
«Чашка чая с Мона Лизой»
Хотели ли когда-нибудь хоть одним глазком заглянуть на кузню аукционов и понять природу торгов мировыми шедеврами изобразительного искусства? Так сложилось, что на протяжении вот уже года меня не покидает тревожная мысль и обеспокоенность собственной безграмотностью в вопросе искусства, ибо после прочтения романа Иллиеса «1913» я остро ощутила, насколько я профан в этой области. Дальше банальных представлений о том, кто написал «Мона Лизу» и чье творение стало брендовым образом женских духов, мои познания не продвигаются. Я, конечно, значительно утрирую, - масштабы бедствия, к счастью, не настолько велики - однако особо похвастаться мне нечем. Это несомненно вынуждает меня судорожно хвататься даже за самые малые крохи информации, дабы заполнить пробелы. Я стала, как прилежная ученица, конспектировать данные о разных художниках, скрупулезно вникать в направления искусства, даже пыталась постигнуть разницу между Моне и Мане, но до сих пор не сильно-то могу с уверенностью сказать, кисти кого из них принадлежит то или иное полотно. Это я все к чему? В тот день, когда мне в руки, по чистой случайности, как это обычно бывает, попала книга Хука, я не задумываясь бросилась ее покупать и тут же приступила к внимательному изучению. Забегая наперед могу сказать, что ни на секунду не пожалела о своей спонтанной покупке - книга действительно оказалась хороша, даже обидно, что авторы литературных колонок и буктьюберское сообщество незаслуженно не уделили ей внимания! Что мне несомненно понравилось, так это простота и доступность изложенных мыслей, что-то вроде упрощенной теории искусствоведения для начинающих, но при этом читатель абсолютно не ощущает себя слабоумным, для которого всю информацию тщательно пережевывают и на блюдечке с золотой каемочкой подают сию неприглядную кашицу с табличкой «съешь меня». К тому же Хук вовсе не похож на современных писателей, кто ради рейтинга продаж «плетет интриги» вокруг того или иного предмета живописи, высасывая из пальца какие-то мистификации и конспирологические теории заговора.
В своей книге «Завтрак у Sothby’s» Хук объясняет на примере собственного опыта, почему одни картины пользуются небывалым спросом у покупателей, чем объясняется такой ажиотаж вокруг произведений одного художника и какова причина того, что люди вообще решаются «спускать» такие баснословные деньги на то, что порой на первый взгляд простого обывателя может показаться лишь неумелой мазней. Вполне закономерным является негодование простых людей, кто далек от мира искусства, по поводу того, что стоимость за одну картину может достигать суммы, эквивалентной стоимости более важных вещей, таких как строительство больницы или создание фонда помощи больным детям. От чего же зажиточные люди предпочитают вкладывать инвестиции в то, чему суждено лишь украсить интерьер их новой гостиной? Для пущего сравнения стоит отметить, что цена подобной детали интерьера порой может превышать стоимость даже самого особняка! Конечно, подобных «эстетов» не так уж много, но количество продаваемых картин с каждым годом, как и их стоимость, непомерно растет.
Не стоит переживать, что понимание некоторых картин бывает не простой задачей, с которой сложно справиться без дополнительных подсказок знатоков. Проработав значительное время сначала в «Кристи», а потом в «Сотби», Хук честно признается, что у профессиональных арт-критиков тоже случаются оплошности. Так довольно распространенной ошибкой является неправильное обозначение картин, когда вместо названия, как предполагалось изначально, на обороте холста может указываться банальное распоряжение, где следует разместить картину. Например, «Церемония посвящения» оказалась ни чем иным, как пометкой прежнего владельца повесить ее «справа от коридора» («Right of Passage»). Поэтому в следующий раз, посещая какую-нибудь выставку современного искусства, будьте осторожны, возможно сюжет произведения слабо соответствует ее названию не от того, что Вы неспособны этого увидеть, а по той причине, что кто-то недобросовестно занес картину в каталог.
Так же в «Завтраке» рассматривается извечные вопрос:надо ли быть безумным для создания предмета искусства или же умственное помешательство - это последствие гениальности. Насколько успешным может быть сумасшедший художник и как это отражается на стоимости предмета творчества.
Помимо всего выше упомянутого, весьма интересным стал для меня список самых дорогих и известных картинных краж. Несмотря на то, что продать ворованную работу это далеко непростая задача, ведь о ней тут же становится известно не только аукционным домам и маклерам, но и весь мир, затаив дыхание, пристально следит за процессом расследования, и воришкам с трудом удасться отыскать коллекционера, кто согласился бы на подобную авантюру,находятся все же и те, кого подобные трудности не пугают. Впрочем, если вспомнить, какая стоимость этих шедевров, безрассудство преступников не кажется таким уж необоснованным. А еще в этой книге Вы сможете узнать, что на сегодняшний день способно заставить состоятельных людей раскошелиться больше, чем на приобретение работы Мунка «Крик».
Подводя итог хотелось бы добавить, что, пускай «Завтрак у Sothby’s» не относится ни к разряду научных книг, ни художественных, данная работа будет увлекательной как для опытного знатока искусства, так и для читателей, желающих повысить свой уровень общих знаний. Скучать с этой книгой Вам точно не придется!
Хотели ли когда-нибудь хоть одним глазком заглянуть на кузню аукционов и понять природу торгов мировыми шедеврами изобразительного искусства? Так сложилось, что на протяжении вот уже года меня не покидает тревожная мысль и обеспокоенность собственной безграмотностью в вопросе искусства, ибо после прочтения романа Иллиеса «1913» я остро ощутила, насколько я профан в этой области. Дальше банальных представлений о том, кто написал «Мона Лизу» и чье творение стало брендовым образом женских духов, мои познания не продвигаются. Я, конечно, значительно утрирую, - масштабы бедствия, к счастью, не настолько велики - однако особо похвастаться мне нечем. Это несомненно вынуждает меня судорожно хвататься даже за самые малые крохи информации, дабы заполнить пробелы. Я стала, как прилежная ученица, конспектировать данные о разных художниках, скрупулезно вникать в направления искусства, даже пыталась постигнуть разницу между Моне и Мане, но до сих пор не сильно-то могу с уверенностью сказать, кисти кого из них принадлежит то или иное полотно. Это я все к чему? В тот день, когда мне в руки, по чистой случайности, как это обычно бывает, попала книга Хука, я не задумываясь бросилась ее покупать и тут же приступила к внимательному изучению. Забегая наперед могу сказать, что ни на секунду не пожалела о своей спонтанной покупке - книга действительно оказалась хороша, даже обидно, что авторы литературных колонок и буктьюберское сообщество незаслуженно не уделили ей внимания! Что мне несомненно понравилось, так это простота и доступность изложенных мыслей, что-то вроде упрощенной теории искусствоведения для начинающих, но при этом читатель абсолютно не ощущает себя слабоумным, для которого всю информацию тщательно пережевывают и на блюдечке с золотой каемочкой подают сию неприглядную кашицу с табличкой «съешь меня». К тому же Хук вовсе не похож на современных писателей, кто ради рейтинга продаж «плетет интриги» вокруг того или иного предмета живописи, высасывая из пальца какие-то мистификации и конспирологические теории заговора.
В своей книге «Завтрак у Sothby’s» Хук объясняет на примере собственного опыта, почему одни картины пользуются небывалым спросом у покупателей, чем объясняется такой ажиотаж вокруг произведений одного художника и какова причина того, что люди вообще решаются «спускать» такие баснословные деньги на то, что порой на первый взгляд простого обывателя может показаться лишь неумелой мазней. Вполне закономерным является негодование простых людей, кто далек от мира искусства, по поводу того, что стоимость за одну картину может достигать суммы, эквивалентной стоимости более важных вещей, таких как строительство больницы или создание фонда помощи больным детям. От чего же зажиточные люди предпочитают вкладывать инвестиции в то, чему суждено лишь украсить интерьер их новой гостиной? Для пущего сравнения стоит отметить, что цена подобной детали интерьера порой может превышать стоимость даже самого особняка! Конечно, подобных «эстетов» не так уж много, но количество продаваемых картин с каждым годом, как и их стоимость, непомерно растет.
Не стоит переживать, что понимание некоторых картин бывает не простой задачей, с которой сложно справиться без дополнительных подсказок знатоков. Проработав значительное время сначала в «Кристи», а потом в «Сотби», Хук честно признается, что у профессиональных арт-критиков тоже случаются оплошности. Так довольно распространенной ошибкой является неправильное обозначение картин, когда вместо названия, как предполагалось изначально, на обороте холста может указываться банальное распоряжение, где следует разместить картину. Например, «Церемония посвящения» оказалась ни чем иным, как пометкой прежнего владельца повесить ее «справа от коридора» («Right of Passage»). Поэтому в следующий раз, посещая какую-нибудь выставку современного искусства, будьте осторожны, возможно сюжет произведения слабо соответствует ее названию не от того, что Вы неспособны этого увидеть, а по той причине, что кто-то недобросовестно занес картину в каталог.
Так же в «Завтраке» рассматривается извечные вопрос:надо ли быть безумным для создания предмета искусства или же умственное помешательство - это последствие гениальности. Насколько успешным может быть сумасшедший художник и как это отражается на стоимости предмета творчества.
Помимо всего выше упомянутого, весьма интересным стал для меня список самых дорогих и известных картинных краж. Несмотря на то, что продать ворованную работу это далеко непростая задача, ведь о ней тут же становится известно не только аукционным домам и маклерам, но и весь мир, затаив дыхание, пристально следит за процессом расследования, и воришкам с трудом удасться отыскать коллекционера, кто согласился бы на подобную авантюру,находятся все же и те, кого подобные трудности не пугают. Впрочем, если вспомнить, какая стоимость этих шедевров, безрассудство преступников не кажется таким уж необоснованным. А еще в этой книге Вы сможете узнать, что на сегодняшний день способно заставить состоятельных людей раскошелиться больше, чем на приобретение работы Мунка «Крик».
Подводя итог хотелось бы добавить, что, пускай «Завтрак у Sothby’s» не относится ни к разряду научных книг, ни художественных, данная работа будет увлекательной как для опытного знатока искусства, так и для читателей, желающих повысить свой уровень общих знаний. Скучать с этой книгой Вам точно не придется!
September 6, 2017
It. took. me. two. years. to. finish. this. book 🤦🏻♀️
April 13, 2022
Nejlepší. Je to opravdu jako byste se sešli s britským strejdou u snídaně a vykládal vám zábavné historky ze zákulisí. "No a jak jsem tuhle prodával toho Moneta..."
August 12, 2018
I have no doubt that the author of this book is very knowledgeable and I did learn a lot from reading this book, yet I really didn't like the overall cynicism approach of his to the art world. This book is written from a commercial point of view, true, and maybe I don't understand that much about British humor, yet still…
At times this book felt like a pile of the worst collection of clichés about art and artist, written by someone who's only interest is the commercial appeal of painting, to readers who are probably rich people thinking what to do with their money. It felt corrupted, reading about branding, market value and this 'show-off' sport of buying art, instead of discussing talent, creativity and the joy of art.
And so, some of the most disgusting things written in this book, while maybe sometimes written ironically or as a quote, are still a testimony of everything which is wrong in the art world. For example:
On Modigliani: "On the whole, the market is grateful for his early suicide. He could become weak and repetitive had he lived longer".
"in general, the younger the artist dies the better", when speaking about artists who fought in the first world war.
"Paintings are like women, as they get older they need restoration".
And last but not least, comparing auction house sales to a visit in a whorehouse.
What can you say about this bunch of disgusting views?
What I did like about this book is how the author starts with the artist, and then zoom out until he reaches bigger and bigger forces of the art world – markets, dealers, auction houses, etc… I also liked his interesting chapter about the Nazis and art.
Overall, this book is not written badly and it's not a bad book, it's just really written for people who are more interested in the market value of art, the money aspect and the cold cynical view part of that world. Who's the book NOT for? Artists, basically.
At times this book felt like a pile of the worst collection of clichés about art and artist, written by someone who's only interest is the commercial appeal of painting, to readers who are probably rich people thinking what to do with their money. It felt corrupted, reading about branding, market value and this 'show-off' sport of buying art, instead of discussing talent, creativity and the joy of art.
And so, some of the most disgusting things written in this book, while maybe sometimes written ironically or as a quote, are still a testimony of everything which is wrong in the art world. For example:
On Modigliani: "On the whole, the market is grateful for his early suicide. He could become weak and repetitive had he lived longer".
"in general, the younger the artist dies the better", when speaking about artists who fought in the first world war.
"Paintings are like women, as they get older they need restoration".
And last but not least, comparing auction house sales to a visit in a whorehouse.
What can you say about this bunch of disgusting views?
What I did like about this book is how the author starts with the artist, and then zoom out until he reaches bigger and bigger forces of the art world – markets, dealers, auction houses, etc… I also liked his interesting chapter about the Nazis and art.
Overall, this book is not written badly and it's not a bad book, it's just really written for people who are more interested in the market value of art, the money aspect and the cold cynical view part of that world. Who's the book NOT for? Artists, basically.
December 19, 2021
Автор розказує, на як працює внутрішня кухня арт-аукціонів і що впливає на ціну картини яку продають
January 22, 2023
Since I decided to read regularly something about art, the book “Breakfast at Sotheby’s: An A-Z of the Art World” by Philip Hook fell into my hands.
The author is a ratherish well-known English art critic and was an employee of the famous auction houses Christie’s and Sotheby’s at different periods of his life. In the book, he explains how this or that aspect can influence the market price of an art object: from the artist’s name and the picture subject to its frame or even the name of the art dealer who sells it.
Hook’s research is quite ingenious, and although the information is short, it is diverse. For those who are thinking about buying the first painting, he sorted it out on the shelves, what you should pay attention to when choosing. I’m definitely not going to take this path and become the owner of an art object, so it was just amusing to read what and why it’s more expensive on the market.
It’s suitable for general development purposes.
The author is a ratherish well-known English art critic and was an employee of the famous auction houses Christie’s and Sotheby’s at different periods of his life. In the book, he explains how this or that aspect can influence the market price of an art object: from the artist’s name and the picture subject to its frame or even the name of the art dealer who sells it.
Hook’s research is quite ingenious, and although the information is short, it is diverse. For those who are thinking about buying the first painting, he sorted it out on the shelves, what you should pay attention to when choosing. I’m definitely not going to take this path and become the owner of an art object, so it was just amusing to read what and why it’s more expensive on the market.
It’s suitable for general development purposes.
November 24, 2019
Интересная книга, погружаешься в мир артдилеров. Теперь стала понятнее стоимость картин и откуда она берётся. Хорошая книга!
August 10, 2022
Good intro into the basis of the art world. It's well organised so if you're only looking to define a certain term, you can easily locate it without flipping through the entire book.
September 1, 2023
helpful but such an old white man
August 12, 2016
I came across this title thanks to a weekend literary supplement, an end-of-year piece where everyone cited their best reads of 2013. I think the title misled me, though. Philip Hook has worked in the art world for 35 years and is a director of Sotheby’s so I was expecting more of a memoir, dishing some dirt on life in an auction house.
In fact, the book is a miscellany of art-related fact and anecdote, grouped loosely by theme – artists, subject matter, provenance, the art market. It is still packed with interesting nuggets but the structure is chaotic and switches rapidly from one topic to the next, so that just as your interest is piqued he moves you on again.
I loved the fact that there are lots of illustrations, so reading this book is a much more visual experience than usual. However, I think exploring fewer topics (especially the autobiographical material) in more depth would have made it a superlative read.
For the full version of this review, please check out my blog:
http://asianartbrief.com/2014/03/28/b...
In fact, the book is a miscellany of art-related fact and anecdote, grouped loosely by theme – artists, subject matter, provenance, the art market. It is still packed with interesting nuggets but the structure is chaotic and switches rapidly from one topic to the next, so that just as your interest is piqued he moves you on again.
I loved the fact that there are lots of illustrations, so reading this book is a much more visual experience than usual. However, I think exploring fewer topics (especially the autobiographical material) in more depth would have made it a superlative read.
For the full version of this review, please check out my blog:
http://asianartbrief.com/2014/03/28/b...
May 24, 2016
I am not sure why this book has such high reviews. I am guessing that most people do not have much insight into the art world and are therefore fascinated by the tidbits in this book. However, I was expecting more of a memoir of the author's time at the auction houses and his feelings and stories about the places. The title does inform the reader that this will be a catalog of information in the form of a "dictionary" but, I guess I was still expecting more.
September 1, 2015
Snídaně u Sothebyho je další z publikací o umění, které v rámci edice TEMA představuje nakladatelství Kniha Zlín. Nemusíte mít ale strach, že by tato kniha drnkala na stejnou strunu jako Žralok a Supermodelka od Dona Thompsona (i když k tomu anotace trochu svádí). Philip Hook je mnohem méně bulvární a navíc se zaměřuje na prodej umění z konce 19. a začátku 20. století. Impresionismus, kubismus, abstrakce, surrealismus… Čtěte celou recenzi: http://bit.ly/recenze-snidane-u-sothe...
January 5, 2017
Umělecké klepy na zlepšení dne.
"Philip Ernst jednou namaloval svou zahradu, ale z kompozičních důvodů vynechal jeden strom. Protože byl ovšem natolik v zajetí ,, pravdy obsažené v přírodě", přepadly ho po dokončení obrazu takové výčitky svědomí, že vyšel ven a strom porazil."
Chudáci ti prerafaelité.
"Philip Ernst jednou namaloval svou zahradu, ale z kompozičních důvodů vynechal jeden strom. Protože byl ovšem natolik v zajetí ,, pravdy obsažené v přírodě", přepadly ho po dokončení obrazu takové výčitky svědomí, že vyšel ven a strom porazil."
Chudáci ti prerafaelité.
February 13, 2014
This is very entertaining. It's worth reading for the story about the "extremely camp" man at the switchboard at Christies alone.
August 24, 2022
“sotheby’s” ismini görmemle beraber sanatın fiyatlandırılmasından en azından bahsedilmiş olacağını tahmin etmiştim. aslında kitabın amacı temel seviyede resim ve biraz da heykel sanatlarıyla ilişkilendirilebilecek bütün konulara değinmek, bunu alt başlığıyla da iddia ediyor zaten. boş bir iddia da değil, oldukça yeterli çeşitlilikte ve genel okura hitap eden seviyede anlatım mevcut. bunların üzerine kitabın cezbedici isminin altı da boş bırakılmayarak, finansal boyutu da ele alınmış.
tabii yazarın hem christie’s hem sotheby’s müzayede evlerinde görev almış olmasının sanata dair finansal bilgisini maksimize etmesinde payı büyük olmalı. bu firmalar, 200 seneyi aşkın süredir devam eden bir geleneğin parçası olmakla beraber; bugün bilinen en önemli eserlerin müzayede süreçlerinde aracılık etmişler. buralarda kazandığı tecrübe ve kurumsal hafıza sayesinde, yazarın görüşlerinin kredibilitesi de yüksek. bir tabloda kullanılan renklerin, tuvalin boyutunun veya çerçevesinin kalitesinin; resmin fiyatına etkisinden bahsettiğinde bunun gerçek bir bilgi olduğunu, bu firmalar aracılığıyla gerçekleşen transaction kayıtlarından doğrulayabiliriz. buradaki örnekleri çoğaltabiliriz de, mesela istanbul içeren resimlerin türkler tarafından rağbet gördüğünü ve bu tabloların fiyatlarının yüksek seviyelerde seyrettiğini; sanatın ticari alanında uzun yıllardır bulunan birinin sağlayabileceği gerçek veriler sayesinde bilebiliyoruz.
finansal boyutu bir yana, sanatın temel terimleriyle ilgili de ilginç bilgiler içeriyor. en azından genel kültür olarak bilinmesi gereken her şeye yer verilmiş. bunu da farklı başlıklar altında kategorilendirerek yapması, kendi hafızamızda konumlandırmaya faydalı bana kalırsa, en azından benim için böyleydi. içerisinde yer alan sözlük çok ilginçti ayrıca. sıradan bir kelimenin sanat context’i içerisinde ifade edildiğinde hangi anlama geleceği yazılmış. sanata meraklı olmaktan bağımsız olarak herkesin bu kitabı olmasa bile muadili seviyede başka bir kitabı okunmasının gerektiğini düşünüyorum. futbol terimleriyle açıklayayım neden böyle düşündüğümü… bugün ilgisi olmasa da herkes futbolun nasıl oynanacağını, bu sporun şimdiki ve geçmiş zamanlardaki öne çıkan aktörlerini bilir. pele, maradona, messi, ronaldo, hagi, beckham gibi isimler bilinir ve görünce de tanınır çoğu zaman. sanatta da bu gerekçelerle genel kültür bilgisi olarak herkesin bilmesi gereken bazı bilgiler mevcut.
tabii yazarın hem christie’s hem sotheby’s müzayede evlerinde görev almış olmasının sanata dair finansal bilgisini maksimize etmesinde payı büyük olmalı. bu firmalar, 200 seneyi aşkın süredir devam eden bir geleneğin parçası olmakla beraber; bugün bilinen en önemli eserlerin müzayede süreçlerinde aracılık etmişler. buralarda kazandığı tecrübe ve kurumsal hafıza sayesinde, yazarın görüşlerinin kredibilitesi de yüksek. bir tabloda kullanılan renklerin, tuvalin boyutunun veya çerçevesinin kalitesinin; resmin fiyatına etkisinden bahsettiğinde bunun gerçek bir bilgi olduğunu, bu firmalar aracılığıyla gerçekleşen transaction kayıtlarından doğrulayabiliriz. buradaki örnekleri çoğaltabiliriz de, mesela istanbul içeren resimlerin türkler tarafından rağbet gördüğünü ve bu tabloların fiyatlarının yüksek seviyelerde seyrettiğini; sanatın ticari alanında uzun yıllardır bulunan birinin sağlayabileceği gerçek veriler sayesinde bilebiliyoruz.
finansal boyutu bir yana, sanatın temel terimleriyle ilgili de ilginç bilgiler içeriyor. en azından genel kültür olarak bilinmesi gereken her şeye yer verilmiş. bunu da farklı başlıklar altında kategorilendirerek yapması, kendi hafızamızda konumlandırmaya faydalı bana kalırsa, en azından benim için böyleydi. içerisinde yer alan sözlük çok ilginçti ayrıca. sıradan bir kelimenin sanat context’i içerisinde ifade edildiğinde hangi anlama geleceği yazılmış. sanata meraklı olmaktan bağımsız olarak herkesin bu kitabı olmasa bile muadili seviyede başka bir kitabı okunmasının gerektiğini düşünüyorum. futbol terimleriyle açıklayayım neden böyle düşündüğümü… bugün ilgisi olmasa da herkes futbolun nasıl oynanacağını, bu sporun şimdiki ve geçmiş zamanlardaki öne çıkan aktörlerini bilir. pele, maradona, messi, ronaldo, hagi, beckham gibi isimler bilinir ve görünce de tanınır çoğu zaman. sanatta da bu gerekçelerle genel kültür bilgisi olarak herkesin bilmesi gereken bazı bilgiler mevcut.
July 5, 2020
Apie Philipą Hooką, „Sotheby’s“ valdybos narį bei impresionizmo ir moderniojo meno padalinio Londone vadovą, dažniausiai kalbama gerai arba tylima... Lyg ir savaime aišku, jog knygos autoriaus ilgametė darbo patirtis (apie 40 metų!) meno pasaulyje, transformuota į knygą, suteikia skaitytojui daug vertingos ir retos informacijos, o darbas praeityje su BBC (radijo ir televizijos laidos apie meną plačiajai auditorijai) ir aukciono namais išmokė kalbėti ne tik profesionaliai, bet ir orientuojantis į mėgėjus.
Šioje knygoje P. Hookas siūlo degustacinę meno istorijos įdomybių vakarienę – joje yra visko po truputį ir viskas suderinta. Nuo įdomių faktų apie impresionistus iki meno kūrinių pardavimo kuriozų – „Breakfast at Sotheby’s“ („Pusryčiai „Sotheby’s“) skaitymas – lengvas malonumas, kurį kartkartėmis pagardina gerai aprašytos anekdotinės istorijos. Autorius knygos įžangoje teigia bandantis atsakyti į du pagrindinius klausimus, kylančius susidūrus su menu: 1) ar jam šis kūrinys patinka ir 2) kieno tai darbas?
Pagirtina ir knygos sudarymo strategija: temos padalytos į 5 skyrius, kurių kiekvieną sudaro 4–24 poskyriai (išdėstyti abėcėlės tvarka – žaisminga!), taigi leidiniu galima lengvai šuoliuoti nebijant pamiršti siužeto linijos, nes jos tiesiog nėra. Man įdomiausia buvo 3 dalis „Wall-Power“ („Plokštumos galia“), kurioje bandoma išsiaiškinti, kas verčia pamėgti dailės kūrinius ir kodėl nusprendžiame juos įsigyti (net jei kaina už drobę ir dažus – beprecedentė). Galima pasidžiaugti: rašytojo kalba ir tonas – universalūs, tad leidinys turėtų būti priimtinas kone kiekvienam. Savaime suprantama, meno istorikui knyga pasirodys juokinga, čia jis (ko gero, bet negaliu garantuoti) nieko naujo nesužinos, tačiau vizualaus meno mylėtojui tai puikus atostogų skaitinys, padovanosiantis daug negirdėtų istorijų ir leisiantis kiek plačiau pamatyti meno istorijos pasaulį.
Išversta į lietuvių kalbą: NE | Įvertinimas: 9/10
Šioje knygoje P. Hookas siūlo degustacinę meno istorijos įdomybių vakarienę – joje yra visko po truputį ir viskas suderinta. Nuo įdomių faktų apie impresionistus iki meno kūrinių pardavimo kuriozų – „Breakfast at Sotheby’s“ („Pusryčiai „Sotheby’s“) skaitymas – lengvas malonumas, kurį kartkartėmis pagardina gerai aprašytos anekdotinės istorijos. Autorius knygos įžangoje teigia bandantis atsakyti į du pagrindinius klausimus, kylančius susidūrus su menu: 1) ar jam šis kūrinys patinka ir 2) kieno tai darbas?
Pagirtina ir knygos sudarymo strategija: temos padalytos į 5 skyrius, kurių kiekvieną sudaro 4–24 poskyriai (išdėstyti abėcėlės tvarka – žaisminga!), taigi leidiniu galima lengvai šuoliuoti nebijant pamiršti siužeto linijos, nes jos tiesiog nėra. Man įdomiausia buvo 3 dalis „Wall-Power“ („Plokštumos galia“), kurioje bandoma išsiaiškinti, kas verčia pamėgti dailės kūrinius ir kodėl nusprendžiame juos įsigyti (net jei kaina už drobę ir dažus – beprecedentė). Galima pasidžiaugti: rašytojo kalba ir tonas – universalūs, tad leidinys turėtų būti priimtinas kone kiekvienam. Savaime suprantama, meno istorikui knyga pasirodys juokinga, čia jis (ko gero, bet negaliu garantuoti) nieko naujo nesužinos, tačiau vizualaus meno mylėtojui tai puikus atostogų skaitinys, padovanosiantis daug negirdėtų istorijų ir leisiantis kiek plačiau pamatyti meno istorijos pasaulį.
Išversta į lietuvių kalbą: NE | Įvertinimas: 9/10
May 20, 2017
I'm a bit intrigued by the art trade, so I thought this seemed like an interesting read, and for the most part, it was.
Hook overall has a pretty good tone, humorous but informative, and he even pokes fun at some of the more unusual aspects of art dealing (including, very candidly, mentioning how certain artists should have died sooner). The format--dividing the book into categories and then presenting the information based upon alphabetical terms--didn't quite work for me. I appreciate he was trying to do something unique, but it was harder to follow than a more traditional format.
There are some really interesting parts; my favorites include about different countries' export and taxation rules, stolen or lost art affecting price, the "new rich" in new areas pushing the price of certain genres (like Middle East oil tycoons buying 19th century Europeans depictions of the Middle East, or Japanese liking Impressionism). He didn't mention much about some aspects that I was expecting more, such as the value of having the art been owned by a famous patron.
I also thought there was waaaay to much about modern art, which I understand is what is selling the highest right now so that's what Hook is most concerned with, but he still could have evened it out more (like what about vedutes and capriccios from 17th-19th centuries?). I suppose I should just be glad that if I ever get rich that everyone else is wasting all their money on bad art when the good older stuff is cheaper.
Hook overall has a pretty good tone, humorous but informative, and he even pokes fun at some of the more unusual aspects of art dealing (including, very candidly, mentioning how certain artists should have died sooner). The format--dividing the book into categories and then presenting the information based upon alphabetical terms--didn't quite work for me. I appreciate he was trying to do something unique, but it was harder to follow than a more traditional format.
There are some really interesting parts; my favorites include about different countries' export and taxation rules, stolen or lost art affecting price, the "new rich" in new areas pushing the price of certain genres (like Middle East oil tycoons buying 19th century Europeans depictions of the Middle East, or Japanese liking Impressionism). He didn't mention much about some aspects that I was expecting more, such as the value of having the art been owned by a famous patron.
I also thought there was waaaay to much about modern art, which I understand is what is selling the highest right now so that's what Hook is most concerned with, but he still could have evened it out more (like what about vedutes and capriccios from 17th-19th centuries?). I suppose I should just be glad that if I ever get rich that everyone else is wasting all their money on bad art when the good older stuff is cheaper.
October 25, 2018
Прочитавши «Завтрак у Sotheby’s», я звернула увагу на те, що на кожній сторінці олівцем зробила якісь помітки: десь підкреслила речення, десь виписала невідомий мені термін, а десь навіть свої роздуми.
Одним словом, книжка не просто прочитана, а цілком опрацьована.
⠀
Філіп Хук (який, до речі, є ультракрутим експертом з живопису в аукціонному будинку «Sotheby’s») у цій книжці відкриє потаємні двері у прохід, в який можуть потрапити тільки вибрані й посвячені в мистецьке таїнство люди.
⠀
Ті теми, які зачіпає автор зазвичай не оголошуюся, вони залишаються під грифом «секретно».
⠀- Як функціонує арт-ринок?
⠀- Як працюють арт-дилери, куратори, критики?
⠀- Яка погода є всередині аукціонних будинків і що на неї впливає?
⠀- Що впливає на ціну художнього твору?
⠀- Які митці найкраще продаються зараз і яка тенденція надалі?
⠀- У що вартує вкладати гроші? (Якщо звісно маєш такі карколомні суми).
⠀
Поза тим, про найцікавіші крадіжки в історії мистецтва, про картини, які «дістали ноги» під час воєн, «секретики» реставрації та багато чого захоплюючого, чого можна почерпнути для себе тут.
⠀
Для загальної ерудиції рекомендую до прочитання не тільки мистецтвознавцям чи арт-менеджерам, а й просто нормальним людям - вона вартує того
Одним словом, книжка не просто прочитана, а цілком опрацьована.
⠀
Філіп Хук (який, до речі, є ультракрутим експертом з живопису в аукціонному будинку «Sotheby’s») у цій книжці відкриє потаємні двері у прохід, в який можуть потрапити тільки вибрані й посвячені в мистецьке таїнство люди.
⠀
Ті теми, які зачіпає автор зазвичай не оголошуюся, вони залишаються під грифом «секретно».
⠀- Як функціонує арт-ринок?
⠀- Як працюють арт-дилери, куратори, критики?
⠀- Яка погода є всередині аукціонних будинків і що на неї впливає?
⠀- Що впливає на ціну художнього твору?
⠀- Які митці найкраще продаються зараз і яка тенденція надалі?
⠀- У що вартує вкладати гроші? (Якщо звісно маєш такі карколомні суми).
⠀
Поза тим, про найцікавіші крадіжки в історії мистецтва, про картини, які «дістали ноги» під час воєн, «секретики» реставрації та багато чого захоплюючого, чого можна почерпнути для себе тут.
⠀
Для загальної ерудиції рекомендую до прочитання не тільки мистецтвознавцям чи арт-менеджерам, а й просто нормальним людям - вона вартує того
January 18, 2019
Finally finished this book! Bought it in 2015 it seems, and there it was, half-read on my shelf for all these years. After my museum tour in Europe last year I came back and revisited it, finding it much more interesting after having read more about art history and seen the works myself.
This is a very frank and lively book about art and art history grounded in the economics of buying and selling works. A lot of it is dedicated to what sells and what doesn't, which is sometimes rational and sometimes completely idiosyncratic. Smiles sell better than scowls. Paintings with even a smudge of red on them may sell better than those without. Paintings that were marked as "degenerate" by Nazis get also a premium. The author covers all the nooks and crannies of the dealings of artworks, from taxation to restoration.
I also appreciate the candour and dark humour of Hook, when he says things like how artists should have known better than to survive World War 1, because the saleability of their art would go up if they had died at their peak and kept the pieces limited. Sad but true.
This is a very frank and lively book about art and art history grounded in the economics of buying and selling works. A lot of it is dedicated to what sells and what doesn't, which is sometimes rational and sometimes completely idiosyncratic. Smiles sell better than scowls. Paintings with even a smudge of red on them may sell better than those without. Paintings that were marked as "degenerate" by Nazis get also a premium. The author covers all the nooks and crannies of the dealings of artworks, from taxation to restoration.
I also appreciate the candour and dark humour of Hook, when he says things like how artists should have known better than to survive World War 1, because the saleability of their art would go up if they had died at their peak and kept the pieces limited. Sad but true.
November 18, 2019
I enjoyed this, Hook writes in a very engaging, easy style and you feel as if you having a conversation over lunch or something. Slightly debatable whether it's an A to Z of the art world, some sections seemed slightly random (fictional artists?). If you are looking to be thoroughly educated about art, and the art world, this book is probably not it.
From a stylistic point, I felt some, if not all, of the pictures, could have been in colour. It's hard to appreciate a painting reproduced in grainy black and white when Hook is expounding on the colours, light, etc., of the picture. I also found the block initial capital for the headings slightly incongruous and there were a couple of typos throughout. A few more anecdotes from his time at both Christies and Sotheby's would have been good - those he does relate are both humorous and enlightening and leave you wanting more.
From a stylistic point, I felt some, if not all, of the pictures, could have been in colour. It's hard to appreciate a painting reproduced in grainy black and white when Hook is expounding on the colours, light, etc., of the picture. I also found the block initial capital for the headings slightly incongruous and there were a couple of typos throughout. A few more anecdotes from his time at both Christies and Sotheby's would have been good - those he does relate are both humorous and enlightening and leave you wanting more.
April 13, 2021
书的结构比较散乱，将一个大问题打散为近百个小模块，鉴于它的定位并非学术类读物，倒也无妨。内容涵盖了大部分能够想到的跟艺术世界尤其是艺术家与其作品价值相关的话题，八卦轶事极其丰富，只要对文艺复兴之后的艺术史稍有了解，必定能从中找到感兴趣的故事。虽然结构性不强，但是基本每篇小文章都没有离开艺术品价格如何被影响这一主题，除了真伪、尺寸、内容、时期、艺术家、流派这些显而易见的因素外，还有几个印象深刻的事实：
1. 19世纪，东方主义者开始向北非和阿拉伯地区进发，将这些陌生世界的风景带回了欧洲，这些对东方场景的描绘作品本来一种西方视角下的解读，但如今却被越来越多阿拉伯人大量高价购入，将其看作自身文明的一部分；2. 同样发生在19世纪的裸体艺术运动中，斯堪的纳维亚地区直到80年代才逐渐出现相关作品，一个最重要的影响因素是中央供暖系统的发明；3. 工业革命之后因为新的有产阶级诞生，产生了对艺术的新需求——风俗画，主题关于“淡淡的情绪、令人愉悦而静谧的小事、茶桌上的小悲剧、面包黄油的田园生活……”，这种容易把握的新兴流行文化养活了一批年轻的艺术家；4. 二战时期纳粹强烈打压所谓“颓废”艺术家，但是没收来的“颓废”艺术品也没都浪费，一部分还拿去交易拍卖以从中获利；5. 日本80年代末的经济狂热极大地推动了西方艺术品交易市场的繁荣，然而90年代初泡沫破裂之后，艺术市场也随之受到沉重打击。
艺术世界并不超脱，甚至从未有哪个时刻能够脱离历史环境，并且可以预见的是，今后只会与现实世界更为深刻地纠缠在一起。
1. 19世纪，东方主义者开始向北非和阿拉伯地区进发，将这些陌生世界的风景带回了欧洲，这些对东方场景的描绘作品本来一种西方视角下的解读，但如今却被越来越多阿拉伯人大量高价购入，将其看作自身文明的一部分；2. 同样发生在19世纪的裸体艺术运动中，斯堪的纳维亚地区直到80年代才逐渐出现相关作品，一个最重要的影响因素是中央供暖系统的发明；3. 工业革命之后因为新的有产阶级诞生，产生了对艺术的新需求——风俗画，主题关于“淡淡的情绪、令人愉悦而静谧的小事、茶桌上的小悲剧、面包黄油的田园生活……”，这种容易把握的新兴流行文化养活了一批年轻的艺术家；4. 二战时期纳粹强烈打压所谓“颓废”艺术家，但是没收来的“颓废”艺术品也没都浪费，一部分还拿去交易拍卖以从中获利；5. 日本80年代末的经济狂热极大地推动了西方艺术品交易市场的繁荣，然而90年代初泡沫破裂之后，艺术市场也随之受到沉重打击。
艺术世界并不超脱，甚至从未有哪个时刻能够脱离历史环境，并且可以预见的是，今后只会与现实世界更为深刻地纠缠在一起。
August 3, 2021
Interesting enough and with very incisive observations by a veteran of the industry. However, these observations are written with a full insider tone and therefore would probably only really be understood by those within the industry. I am not sure what a layman would get from this.
The book revolves around the monetary and trading value of art (painters are described by which their periods sell the best), and can be severely off-putting at times. However, this is the point the author is making, and in a way it is self-denial to pretend this aspect of art does not exist or indeed, now, dominate our ways of seeing.
The book revolves around the monetary and trading value of art (painters are described by which their periods sell the best), and can be severely off-putting at times. However, this is the point the author is making, and in a way it is self-denial to pretend this aspect of art does not exist or indeed, now, dominate our ways of seeing.
June 18, 2018
I'm in the middle of a course of chemo so my attention span is not what it usually is (neither, I suspect, are my reviews are helpful as they could be) but I have to say that I thoroughly enjoyed this book about the art world. Hook is a wonderful gossip about a wide cast of artists from Degas to Picasso and back again. It also provides a fascinating insight into the money that can be generated by collectors and dealers and sharks and so on. I've been waiting to read an art book like this for years.
May 4, 2022
Art supply costs…
A fabulous book filled with all the reasons why…
if you can’t view the ‘good’ art in places with public access,
it lives in a wealthy home or bank vault.
This is an interesting book - none the less about the world
of supplying art to rich and famous via ‘someone’s commission’.
The best part is that ‘masterpieces - those that evoke…’
are in Museums where the regular person can enjoy them,
at will without worrying about insurance, lighting or security.
A great read, thank you Philip Hook :-)
A fabulous book filled with all the reasons why…
if you can’t view the ‘good’ art in places with public access,
it lives in a wealthy home or bank vault.
This is an interesting book - none the less about the world
of supplying art to rich and famous via ‘someone’s commission’.
The best part is that ‘masterpieces - those that evoke…’
are in Museums where the regular person can enjoy them,
at will without worrying about insurance, lighting or security.
A great read, thank you Philip Hook :-)
November 14, 2022
There was a lot of good information but along like 3/4 of the book I was bored, tired and just wanted it to be over. It isn't exactly that it was repetivie, but everything juust felt disconnected, and the experiences just started to feel bland, since I didn't connect and everything felt more disorganized than organized, I just gave up. Rebecca's review for this book is incredibly accurate on the problem, the woman who gave it 3 stars, the concept of the a-z of art ended up being mostly detrimental to the enjoyment of the book.
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