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The Accidental Masterpiece: On the Art of Life and Vice Versa, by Michael Kimmelman
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A New York Times bestseller—a dazzling and inspirational survey of how art can be found and appreciated in everyday life
Michael Kimmelman, the prominent New York Times writer and a regular contributor to The New York Review of Books, is known as a deep and graceful writer across the disciplines of art and music and also as a pianist who understands something about the artist's sensibility from the inside. Readers have come to expect him not only to fill in their knowledge about art but also to inspire them to think about connections between art and the larger world - which is to say, to think more like an artist. Kimmelman's many years of contemplating and writing about art have brought him to this wise, wide-ranging, and long-awaited book.
It explores art as life's great passion, revealing what we can learn of life through pictures and sculptures and the people who make them. It assures us that art - points of contact with the exceptional that are linked straight to the heart - can be found almost anywhere and everywhere if only our eyes are opened enough to recognize it. Kimmelman regards art, like all serious human endeavors, as a passage through which a larger view of life may come more clearly into focus. His book is a kind of adventure or journey.
It carries the message that many of us may not yet have learned how to recognize the art in our own lives. To do so is something of an art itself. A few of the characters Kimmelman describes, like Bonnard and Chardin, are great artists. But others are explorers and obscure obsessives, paint-by-numbers enthusiasts, amateur shutterbugs, and collectors of strange odds and ends. Yet others, like Charlotte Solomon, a girl whom no one considered much of an artist but who secretly created a masterpiece about the world before her death in Auschwitz, have reserved spots for themselves in history, or not, with a single work that encapsulates a whole life.
Kimmelman reminds us of the Wunderkammer, the cabinet of wonders - the rage in seventeenth-century Europe and a metaphor for the art of life. Each drawer of the cabinet promises something curious and exotic, instructive and beautiful, the cabinet being a kind of ideal, self-contained universe that makes order out of the chaos of the world. The Accidental Masterpiece is a kind of literary Wunderkammer, filled with lively surprises and philosophical musings. It will inspire readers to imagine their own personal cabinet of wonders.
- Sales Rank: #546504 in Books
- Brand: Kimmelman, Michael
- Published on: 2006-07-25
- Released on: 2006-07-25
- Original language: English
- Number of items: 1
- Dimensions: 8.28" h x .47" w x 5.11" l, .42 pounds
- Binding: Paperback
- 256 pages
From Publishers Weekly
Thechief art critic of the New York Times, Kimmelman (Portraits) delivers an uplifting art-is-good-for-you message that is surprisingly easy to swallow. Intelligent but not obscure, warm but not intrusively personal, Kimmelman manages in 10 chapters to cover a lot of ground, with a working definition of "art" that goes far beyond what's found in galleries and museums. The reader encounters not only the likes of Pierre Bonnard and Matthew Barney but Hugh Francis Hicks, a serious collector of lightbulbs, and Frank Hurley, whose miraculously preserved images of the 1914 Antarctic Endurance expedition are as haunting as any "art." This is Kimmelman's point: though passionately concerned with "gallery" art, he is more concerned with the rewards of aesthetic experience, how the attentiveness we bring to art can help to make a "daily masterpiece" of ordinary life. Kimmelman's enthusiasm is infectious; he has an impressive ability to incorporate recent artistic trends into his argument; the chapter on "The Art of the Pilgrimage," for instance, discusses the earth art of Michael Heizer and the minimalism of Donald Judd with a clarity that doesn't shortchange the work's difficulty. If Proust can change your life, so can Bonnard. (Aug.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
As chief art critic for the New York Times, Kimmelman has developed a relaxed and welcoming approach to explicating art that makes this aptly unpredictable consideration of the role accidents and serendipity play in the making of art as pleasurable as it is enlightening. Kimmelman is interested in "how art transforms lives," and in how a life lived artistically can itself be seen as a masterpiece, and the examples he cites open up many new vistas of thought. He reflects on how Pierre Bonnard transformed his "circumscribed world" into a "fantastical" realm through sustained contemplation. He profiles Charlotte Salomon, whose remarkable painted diary survived after she perished in the Holocaust, and Jay DeFeo, who worked for decades on one colossal painting known as The Rose. Kimmelman celebrates the snapshot as a great source for accidental masterpieces, and pays fresh tribute to Chardin and Wayne Thiebaud, painters who discern the "dignity" of ordinary things and the art of everyday life. And Kimmelman himself, a receptive and creative observer, turns criticism into story, thus making art out of thought. Donna Seaman
Copyright � American Library Association. All rights reserved
Review
“A book that captures very well the enigmatic status of art and how we might approach it. . . . Kimmelman [is] a knowledgeable guide to all sorts of places we’d never have though of going.” —Adrian Searle, The New York Times
“Michael Kimmelman writes that ‘the world is full of amazing surprises.’ As it happens, this book is one of them. Knowledgeable, charming, thoughtful, lucid, unpretentious writing about art? A critic who actually leaves his room and comes back with stories about interesting people and places in the real world? And if that weren’t amazing and surprising enough, Kimmelman is on an earnest old-school quest, determined to convince us (in his charming and unpretentious way) that modern art is not a cynical game, that we can glimpse all kinds of improbable marvels and wonders in all sorts of places if we take the time to look and feel and think. I am grateful for The Accidental Masterpiece.” —Kurt Anderson, New York Times–bestselling writer and host of the Peabody–winning radio program Studio 360
“I get more from reading Michael Kimmelman—the dry wit, the elegant conviviality of tone, the broad range and the underlying toughness of judgment—than from any art critic writing now. He really knows art and, what’s more, really enjoys it. And he brings that enjoyment to the reader in a way that you can’t fail to share. He’s neither a jargoneer nor an art world nerd: He is deeply immersed in life, its pleasures, and the winding, unexpected ways in which art puts you in touch with both. Chapeau!” —Robert Hughes, awarding-winning art critic, writer, and director
“Michael Kimmelman, one of the most brilliant and sensitive critics of our time, in this book presents a surprisingly refreshing view of art and artists. From the beginning to the end, he exercises his wry sense of humor to explain something that is deeply insightful of our culture. His book shows how you may be an artist too, without even knowing. Read, and see yourself in this mirror of our contemporary and future society. You’ll love it.” —Yoko Ono
Most helpful customer reviews
61 of 62 people found the following review helpful.
Paying Attention
By Marilyn Minden
This book has changed my life! Mr. Kimmelman's urbane discussions have enhanced my understanding of the impulse behind my own enthusiasm for objects and arrangements and for the place of art in my life. I wish I had had the book years ago.
Mr. Kimmelman has a superb, almost magical talent for transporting a reader to places and people he has visited as well as to times when his imagination -- informed by an encyclopedic knowledge of writers past and present -- fills in the gaps.
He takes us to a painter's studio darkened by black curtains where Philip Pearlstein transforms models into geometrical compositions; on an exhausting climb up Cezanne's Montagne Sainte-Victoire, where, to his chagrin, he finds a group of elderly French ladies there before him; for an early-morning walk with Pierre Bonnard at his home in southern France, where he lives with an impossible wife; to Antarctica with Frank Hurley, the fearless Australian photographer who captured the romance of the cold south when he sailed with Shackleton on the Endurance; on a near-death experience in Utah, where he had gone to visit a Matthew Barney sculpture in the salt flats in the winter and found himself in chest-high icy water in total darkness after volunteering to find help when car and cell phone failed.
Chapter titles provide clues to how he makes the art experience apparent, i.e., The Art of Making Art Without Lifting a Finger, The Art of Collecting Light Bulbs, The Art of Maximizing Your Time, The Art of Having a Lofty Perspective, The Art of Finding Yourself When You're Lost. As for the last, this book has made me feel "found". I have heard many lectures by eminent art historians--among them Erwin Panofsky at Princeton and Seymour Slive at Harvard--yet not until I read Mr. Kimmelman did I learn to pay attention, live life more alertly, and embrace the art in my daily life.
Mr. Kimmelman, an art critic whose opinions I would like to hear about everything, is a charming companion -- insightful, funny, eloquent, utterly without pretense, and a fountain of perfectly placed observations from past writers, from Nabokov and Proust to Heine, Hobbes, and Hegel. He has created a conversational genre all his own, one that is both moving and joyful.
2 of 2 people found the following review helpful.
Yes, Art Matters
By C. Ebeling
Michael Kimmelman, chief art critic for the New York Times, takes a very down-to-earth tour of the nature of visual art and its contemporary issues in THE ACCIDENTAL MASTERPIECE. This is a book that reaches out to the general reader, beguiling with anecdotes and a willingness to define terms and issues plainly without oversimplification. Kimmelman welcomes everyone to the table of art, not just the cognoscenti. His enthusiasm for artists and the place of art in our lives is infectious.
The first essay inspired the title of the collection. Kimmelman sorts through the work and circumstances of Pierre Bonnard (1867 - 1947), whose career and life took a permanent turn the day he glimpsed a pretty young woman on the street. She became his muse and often his tormenter, his model and wife. From Bonnard he moves onto the rise of photographic technology and, with its proliferation, the rise of the amateur on the art scene. Then onto how we define and are moved by beauty, which he reflects upon while panting up mountains that have stirred great painters but belatedly release an epiphany for him. He addresses conceptual art next ("The Art of Making Art Without Lifting A Finger"), and then collecting, then finding oneself (and art) when lost, and then the changing attitudes toward figurative rendering, especially nudes, while profiling Philip Pearlstein in particular. "The Art of the Pilgrimage" heads to the land art out west and the last chapter concludes with art that depicts ordinary objects--not Warhol's soup cans as one might imagine, but Wayne Thiebaud's depiction of gumball machines and Chardin's painting of a young man blowing a bubble.
This is not a comprehensive introduction to art history and some academics may argue it is not particularly critical, but it generously imparts a lot of knowledge and awe via its conversational tone. It is a pleasure joining an insider for a special tour of his world.
1 of 1 people found the following review helpful.
Making Daily Life an Art
By Kellie
This book is quite an enjoyable read. Throughout it are bits of travel writing, memoir, and biography, where Kimmelman relates artistic notions to daily life. His prose is witty and clear, so that one focuses more on the meaning than on complicated language. The chapters are divided into separate anecdotal topics, with such fascinating titles as, "The Art of Collecting Lightbulbs" and "The Art of Finding Yourself When You're Lost". Like most books, however, there are slower moments, such as "The Art of the Pilgrimage" chapter. I just skimmed through it and moved on to other sections that held more meaning for me. Overall, this book is one that I will reread. I look forward to discovering further insight from it, and in the meantime will work to apply some of its premise to my own life.
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