ROBERT M. EDSEL
SAVING ITALY
The Race to Rescue a Nation's Treasures from the Nazis
W. W. Norton & Company
(February 3, 2014)
Alongside the Allies’ push north against the Nazis, there was another war fought in WWII Italy, a battle to preserve the country’s rich cultural contribution to Western civilization. With Leonardo da Vinci’s iconic The Last Supper nearly demolished by a bomb, protecting the nation’s art became an urgent task, requiring hundreds of paintings and sculpture to be hidden throughout the country (Michelangelo’s David was entombed in brick). The group assigned to save the art in Italy was made up of 40 American and British “Monuments Men.” Edsel (who has trod this ground before, in The Monuments Men, 2009) clearly presents the war in Italy as a battle not just to occupy the land but also to preserve the country’s culture. In urgent and precise prose, he puts the reader in the cockpit, the foxhole, and the cramped offices of those charged with saving the artwork. Most of the pilfering and destruction of art treasures was done by the Nazis, of course, but Edsel points out that the Allies were not blameless, either. This is a must-read for WWII buffs and anyone interested in the fight for art history.
--Bridget Thoreson
(from Booklist)
SAVING ITALY
The Race to Rescue a Nation's Treasures from the Nazis
W. W. Norton & Company
(February 3, 2014)
Alongside the Allies’ push north against the Nazis, there was another war fought in WWII Italy, a battle to preserve the country’s rich cultural contribution to Western civilization. With Leonardo da Vinci’s iconic The Last Supper nearly demolished by a bomb, protecting the nation’s art became an urgent task, requiring hundreds of paintings and sculpture to be hidden throughout the country (Michelangelo’s David was entombed in brick). The group assigned to save the art in Italy was made up of 40 American and British “Monuments Men.” Edsel (who has trod this ground before, in The Monuments Men, 2009) clearly presents the war in Italy as a battle not just to occupy the land but also to preserve the country’s culture. In urgent and precise prose, he puts the reader in the cockpit, the foxhole, and the cramped offices of those charged with saving the artwork. Most of the pilfering and destruction of art treasures was done by the Nazis, of course, but Edsel points out that the Allies were not blameless, either. This is a must-read for WWII buffs and anyone interested in the fight for art history.
--Bridget Thoreson
(from Booklist)
