The Last Painting of Sara De Vos (Paperback)

By Dominic Smith

Large Print Press, 9781432837808

Publication Date: April 4, 2017

Other Editions of This Title:
Digital Audiobook (4/4/2016)
Paperback (4/4/2017)
Hardcover (4/5/2016)
CD-Audio (4/5/2016)
Hardcover, Large Print (7/6/2016)
MP3 CD (6/13/2017)

List Price: 16.00*
* Individual store prices may vary.

April 2016 Indie Next List

“Smith's new novel unfolds slowly, and each moment of illumination offers a glimpse into the true heart of this quiet, captivating tale. Spanning more than three centuries, it is the story of three lives --a female master painter of the Dutch Golden Age, a moneyed New York patent attorney, and an art history student turned one-time art forger -- each changed by one haunting painting. Filled with hurt, grief, and deceit, but also layered with love, grace, and regret, The Last Painting of Sara de Vos is a wonderful read, beautifully written.”
— Heather Duncan (M), Tattered Cover Book Store, Denver, CO
View the List

Description

A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH.

Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city's Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it.

New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer's marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict.

Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.