By Aaron Elkins
Mild‑mannered and law‑abiding, Chris Norgren, curator of Renaissance and Baroque paintings on the Seattle paintings Museum, is an not going undercover investigator, but if a beneficial Rubens portrait is came across in a cargo of “authentic reproductions” in a neighborhood warehouse, Chris is pressed into carrier to determine the way it acquired there. the hunt leads him to the medieval urban of Bologna, one among his favourite areas, yet all too quickly what could have been a welcome Italian interlude becomes a weird and wonderful trip into shady paintings global doings and murderous secrets and techniques . . .
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Additional resources for A Glancing Light (Chris Norgren)
It was a mark of its excellence that I couldn't be sure whether it had been painted a year ago or a century ago. But definitely not in 1421. By now I realized what paintings it had been adapted from, for a convincing forgery is seldom hatched full-blown in the forger's mind; it is borrowed from authentic works of the artist. The face was from A Man in a Red Turban, but turned to the right instead of the left; the hat was from the great Giovanni Arnolfini and His Bride. Although I tried explaining all this, I don't think I got through to either of them.
It's too late to reallocate the budget. Absolutely impossible. " I was familiar with Tony's style. I waited. "Maybe twenty thousand," he allowed after a few seconds. I waited. I sipped my wine and watched the sea gulls. What we were negotiating for was enough money to buy a small domestic painting by Esaias Boursse, a nearly unknown seventeenth-century Dutch painter. Most of his work deserves its obscurity, but occasionally he created paintings of stunning beauty. Some of them were believed for decades to be by Vermeer, which gives you some idea.
The Pinacoteca had lost eighteen of its most precious paintings that night. Max frowned. "Well, let's see. . The Venetian paintings were knocked down, oh, some time in April 1987. Or maybe May? " Max's certainty about the latter date was understandable. It had been from his workshop, where it had been undergoing restoration, that Clara Gozzi's Rubens had been stolen. "But he could have been here," Di Vecchio persisted. "No, you can forget it, believe me. Whoever took those paintings knew what they were doing.