I am reading an extraordinary book – The Hare with Amber Eyes by Edmund de Waal. It's not extraordinary in style, being accessible and straightforward. Neither is the genre difficult, for me at least, being classed as “biography/history”. And the subject is not controversial, simply the author's attempt to trace the movements of a collection of 264 netsuke that have been left to him by his late great uncle, a Jew of Russian extraction who was living in Japan. De Waal, a potter, finds himself writing an intimate history of his wealthy and artistic antecedents as they progressed out of Odessa and across Europe.
However, what is extraordinary is de Waal's unearthing of connections, financial and artistic, between the first European owner of the 264 netsuke and those at the core of the Impressionist movement in France, and then their journey towards the home of his 84 year old uncle and his male partner near late 20th century Tokyo. De Waal, raised on and guided by the aesthetic principals of Bernard Leach, gently and sympathetically probes the private thoughts and prejudices of the art world and those who commissioned works. He can do this with authority since he is bound up in this world himself as a creator and emotional interpreter.
I can't help but draw parallels with my recent experience of reading A.S. Byatt's The Children's Book, in which the careers and motivations of a fictitious literary and artistic family are laid bare for our inspection. Both books came out in print around the same time, so I'm sure one did not consciously influence the other. But the similar emotions they have both evoked in me also make me value each one as highly as the other. Coincidentally, a new series has begun on BBC1 called Fake or Fortune?, and the first article to be scrutinised was a painting of the Seine at Argenteuil purporting to be by Claude Monet. I think the programme was intended as a logical “spin-off” from The Antiques Roadshow, but curiously it has revealed the tensions and passions arising from tracing the provenance and history of an art work. Why would anyone care who actually painted an atmospheric and beautiful scene if not interested in its future sale price? Why was the Wildenstein Institute so adamant in its denial that the scene was by Monet in the face of almost overwhelming evidence, if not fearing more for its reputation than any possible truth?
These are some of the questions that de Waal incidentally raises in his pursuit of the history of his family and the netsuke collection he has inherited. And along the way he turns over the rock of anti-Semitism in the spheres of art and finance that pervaded most of Europe before the World Wars, not just Germany. Apart from the pernicious jealousies de Waal also presents the reader with bizarre images, one of which was a sight that impressed Oscar Wilde of “a tortoise whose shell was encrusted with gemstones so that its slow passage across a room would enliven the pattern of a Persian carpet”... Naturally Damien Hirst's For the Love of God sprang instantly to mind, and forced me to consider what on earth art is for when even artists have to eat, yet the money always talks the loudest. And I cannot draw any satisfactory conclusions, except that corruption surely begins with the very first sale of any artefact. Can anyone enlighten me?