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Rogues' Gallery: The Secret Story of the Lust, Lies, Greed, and Betrayals That Made the Metropolitan Museum of Art, by Michael Gross
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“Behind almost every painting is a fortune and behind that a sin or a crime.”
With these words as a starting point, Michael Gross, leading chronicler of the American rich, begins the first independent, unauthorized look at the saga of the nation’s greatest museum, the Metropolitan Museum of Art. In this endlessly entertaining follow-up to his bestselling social history 740 Park, Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers. And he paints a revealing portrait of a previously hidden face of American wealth and power.
The Metropolitan, Gross writes, “is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure.” The book covers the entire 138-year history of the Met, focusing on the museum’s most colorful characters. Opening with the lame-duck director Philippe de Montebello, the museum’s longest-serving leader who finally stepped down in 2008, Rogues’ Gallery then goes back to the very beginning, highlighting, among many others: the first director, Luigi Palma di Cesnola, an Italian-born epic phony, whose legacy is a trove of plundered ancient relics, some of which remain on display today; John Pierpont Morgan, the greatest capitalist and art collector of his day, who turned the museum from the plaything of a handful of rich amateurs into a professional operation dedicated, sort of, to the public good; John D. Rockefeller Jr., who never served the Met in any official capacity but who, during the Great Depression, proved the only man willing and rich enough to be its benefactor, which made him its behind-the-scenes puppeteer; the controversial Thomas Hoving, whose tenure as director during the sixties and seventies revolutionized museums around the world but left the Met in chaos; and Jane Engelhard and Annette de la Renta, a mother-daughter trustee tag team whose stories will astonish you (think Casablanca rewritten by Edith Wharton).
With a supporting cast that includes artists, forgers, and looters, financial geniuses and scoundrels, museum officers (like its chairman Arthur Amory Houghton, head of Corning Glass, who once ripped apart a priceless and ancient Islamic book in order to sell it off piecemeal), trustees (like Jayne Wrightsman, the Hollywood party girl turned society grand dame), curators (like the aging Dietrich von Bothmer, a refugee from Nazi Germany with a Bronze Star for heroism whose greatest acquisitions turned out to be looted), and donors (like Irwin Untermyer, whose collecting obsession drove his wife and children to suicide), and with cameo appearances by everyone from Vogue editors Anna Wintour and Diana Vreeland to Sex Pistols front man Johnny Rotten, Rogues’ Gallery is a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation.
- Sales Rank: #193992 in Books
- Brand: Brand: Broadway Books
- Published on: 2010-05-11
- Released on: 2010-05-11
- Original language: English
- Number of items: 1
- Dimensions: 8.30" h x 1.20" w x 5.50" l, 1.02 pounds
- Binding: Paperback
- 576 pages
Features
- Used Book in Good Condition
From Publishers Weekly
For more than a century, the coupling of art with commerce has made New York's Metropolitan Museum of Art the world's most glamorous whore, according to this sprawling history. Gross, a veteran chronicler of the rich and beautiful (Model: The Ugly Business of Beautiful Women), highlights the relationship between the directors and curators who amassed the Met's collection—fakes and questionably acquired antiquities included, he notes—and its patrons. In his telling, the exchange of money for prestige (contributor John D. Rockefeller wanted good publicity after striking workers were massacred at the family's Ludlow mine) is a tawdry business, with the museum's high-toned seduction of well-heeled egotists, who in turn felt betrayed when newer collections impinged on their own galleries. Not the best-curated of exhibitions, Gross's thematically unfocused chronicle is overstuffed with the details of fund drives, building plans and bequests; some figures feel like they were profiled mainly because there were juicy anecdotes about them—a rarity in tight-lipped Met circles—not because their doings are especially illuminating. Still, browse long enough and you'll find behind-the-scenes dirt and an intriguing look at the symbiosis of culture and cash. (May 12)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
Praise for Rogues' Gallery
“Gross demonstrates he knows his stuff. It's a terrific tale, with all the elements of a gossipy, color-rich, fact-packed Vanity Fair-style takedown.” –Maria Puente, USA Today
“Provocative.” –Reid Pillifant, New York Observer
“Any and all facts that I knew of personally, the author gets absolutely right, which makes me trust much else in the book–and there's a great deal else, indeed an entire history of the museum beginning from its gradual birth in the 1870s, told as a kind of extended gossip dish, a dense and exhaustively factual one, about the powerful egos that drove it into prominence and kept it there. I am not particularly sympathetic to any view of the world as a gossipy chronicle. I didn't expect to like the book's tone, but I found a good 100 pages had gone by before I could even put it down. . . . The book is important, and what's more, splendidly readable.” –Melik Kaylan, Forbes.com
"Highly entertaining." –Manuela Hoelterhoff, Bloomberg
"Gross’ s coup is not only in the vast amounts of information he has obtained but also in his ability to tell a story about the rich and powerful people of New York nearly effortlessly and without disdain." –Jillian Steinhauer, ArtInfo.com
". . . a pageturner that unravels like an elite whodunit, and is reaping encomiums from advance readers. Destined to be the talk of art circles in the U.S. and abroad. . . . Not only by art connoisseurs but by culturati hungry for a captivating, tattle-tale yarn, Rogues’ Gallery will spark a furor." –George Christy, The Beverly Hills Courier
"Gross relishes every nefarious or audacious episode as he marches through the museum’s fascinating history of curatorial excellence, social climbing, and skulduggery. It’ s a tale of elitists versus populists, of spectacular gifts and scandals, trustees refusing to consider art made by living artists and formidable innovators, especially Robert Moses and Thomas Hoving. Whether he is portraying the museum’s first director, the scoundrel Luigi Palma di Cesnola, John D. Rockefeller (the museum’s “greatest benefactor”), curator Henry Geldzahler, Diana Vreeland of the Costume Institute, or, in the most sordid chapter, vice chairman Annette de la Renta, Gross zestfully mixes factual reportage with piquantly entertaining anecdotes." –Donna Seaman, Booklist
"Gross is a good reporter, ever-digging, fanatical about details and without cooperation from the Met, he has produced a fascinating history of the museum, its place in the world, its place in the New York social firmament and its ups, downs, ins, outs, plus the trajectories of its various directors. . . . a fabulous, realistic, well-researched book " –Liz Smith
"Rogues’ Gallery: The Secret History of the Moguls and the Money that Made the Metropolitan Museum, has all of New York talking." –Style.com
". . . a must-read." –Rush & Molloy, New York Daily News
". . . destined to be a must-read amongst the cognescenti, not to mention the art world." –David Patrick Columbia, New York Social Diary
“Michael Gross hangs the eccentric and dazzlingly rich characters behind the Metropolitan Museum of Art.” –Vanity Fair
“Sharp and well-constructed, the readers will marvel at how the institution transcended the bickering and backhanded power plays to become one of the largest and most prestigious museums in the world. A deft rendering of the down-and-dirty politics of the art world.” –Kirkus Reviews
“For more than a century, the coupling of art with commerce has made New York’s Metropolitan Museum of Art the world’s most glamorous whore, according to this sprawling history. . . . Behind-the-scenes dirt and an intriguing look at the symbiosis of culture and cash.” –Publishers Weekly
“Michael Gross has proven once again that he is a premier chronicler of the rich. Rogues’ Gallery is an insightful, entertaining look at a great institution—with all its flaws and all its greatness.” —Gay Talese, author of A Writer’s Life
“The title alone tantalizes but once you pick up this book and start reading about the good and the great and the hijinks of high society, it becomes un-put-downable!!!” —Kitty Kelley, author of The Family: The Real Story of The Bush Dynasty
Praise for 740 Park
“Tantalizing, intimate, engrossing, intriguing. A deeply researched book that deserves a prominent place among the social histories of 20th-century Manhattan.” —Washington Post
“One building as [a] microcosm of life on a silver platter. The voyeurism is so giddy that 740 Park sometimes feels like an extended feat of free-association. . . . Outside the work of Edith Wharton or Jane Austen, it’s rare to find such brazen speculation about exactly what people are worth. Changing demographic and economic realities have made 740 Park a mirror of its times.” —Janet Maslin, New York Times
“[A] great read . . . gossipy . . . revealing.” —People
“This is social history at its finest.” —Dominick Dunne
“740 Park is the home of some of the world’s wealthiest people. Gross takes readers inside its doorman-protected walls, exposing the shocking and sometimes tragic secrets the building has been guarding for nearly a century.” —Star
“It took a reporter and storyteller like Michael Gross to lay out the epic tale—truly, the story of American capitalism and 20th-century New York society—that is 740 Park Ave. . . . This is the kind of heady terrain Gross knows well.” —Hartford Courant
About the Author
Provocative cultural journalist and New York Times bestselling author Michael Gross is currently a contributing editor at Travel & Leisure. He has previously held positions at the New York Times, New York, Radar, George, and Esquire. His writing has appeared in Vanity Fair, Interview, Details, Elle, Architectural Digest, American Photo,
Town & Country, and Cosmopolitan, and he has also written for the Washington Post, the International Herald Tribune, the Village Voice, the San Francisco Chronicle, and the Chicago Tribune. He has profiled subjects from John F. Kennedy Jr. to Greta Garbo, from Richard Gere to Ivana Trump, and he has written on subjects such as divorce, plastic surgery, Greenwich Village, and sex in the nineties. He is the author of the New York Times bestselling Model: The Ugly Business of Beautiful Women (1995), which was published in eight countries; My Generation (2000), a biography of the Baby Boom generation; Genuine Authentic: The Real Life of Ralph Lauren (2003); and 740 Park (2005). He currently lives in New York City.
Most helpful customer reviews
99 of 107 people found the following review helpful.
Skulduggery in the sculpture gallery, intrigue among the antiquities...
By S. McGee
Any wealthy, social-climbing, self-important, status-seeking individual even sensing that Michael Gross is taking an interest in their doings would be well advised to donate every penny of their riches to charity and flee to South Dakota, pronto. At least, that's my advice after reading Rogues' Gallery, a peek behind the scenes at the shenanigans of the donors, trustees, curators and directors at the Metropolitan Museum of Art over the nearly 140-year life of that institution. Indeed, given all the dysfunction that Gross chronicles, I'm amazed that the museum manages to open its doors at all, much less function more or less smoothly as a superb collection of the world's greatest art.
This is an intriguing book to appear at what may be a major turning point in the Met's history. Some of today's mega-collectors (hedge fund tycoon Steve Cohen, retailer Eli Broad and casino king Steve Wynn)have shown little interest in getting involved with the Met; others have favored their regional museums or contemporary art collections. Meanwhile, its core function -- offering visitors a collection of the 'best of the best' -- is challenged by what former director Philippe de Montebello has referred to dispargingly as ultra-nationalists bent on destroying the universal cultural mission of the great museums. (Translated: countries like Greece and Turkey would like their pilfered art back, please.) It's not surprising that Gross didn't win the cooperation of Met authorities for his work on this book, and almost certainly it's being scoured (as I type) by various attorneys for people who would love to sue Gross for libel. (They probably won't succeed; his most outrageous insights into the characters of folks like Oscar and Annette de la Renta seem to be well-documented.)
Gross's specialty is taking readers behind the scenes at high-profile yet secretive Manhattan institutions just like the Met -- the world of modeling or the white-glove co-op apartments like that of 740 Park Avenue, for instance. At first, the museum world strikes the reader as a bit of a departure for him, until you realize that for centuries, the patrons and purchasers of art (if not the artists themselves) have always treated it as a means to an end. For the Medicis, for instance, hiring great Florentine artists up to and including Michelangelo was a way to placate the church (frescoes and altarpieces helped ease the pain of having to deal with usurious bankers) and boost their public image (how wonderful to have a saint who looked just like young Piero...) So when it came time for Gilded Age New York to try and match -- and preferably exceed -- the Europeans at the collecting game, what would be more natural than the fact that they would want to create a showcase institution? And so was born the Met.
Gross is at his strongest and (to me, at least) his most interesting when he chronicles the interminable tugs of war between the trustees, donors and curators and the city authorities over the institution's core mission. Was the museum's goal simply to make insiders feel self-important or was it also to create in the public a sense of what great art was and could be? The Met, which has always relied on public funding, has also always wrestled with the degree to which it is willing to bow to a more populist approach, as Gross deftly shows, starting with his survey of the furious debate over whether or not to open the institution's doors on a Sunday -- the only day the hoi polloi had free and on which they could realistically be expected to visit. Gross shows how a similar struggle between serving the public and catering to wealthy donors and trustees has continued to this day, in everything from its admissions policies to the way it displays its works. Frequent (ordinary) Met-goers are likely to finish this feeling somewhat irritated and patronized by the elite who govern the institution.
Gross tackles the Met's larger than life personalities with a pen dipped in vitriol and a degree of enthusiasm that has probably caused several coronaries among his targets and set skeletons rattling in closets as enthusiastically as former Met director Thomas Hoving once made the mummies dance. Alas, some of the scandalous details he brings to light pique his curiosity to such a great extent that he gets carried away by them, sometimes at the expense of more thought-provoking material about the museum itself. After a while, the titillating gossip was entertaining, but took up pages that I would have preferred to see filled with equally chatty and gossipy recounting of how these collectors approached their roles as trustees. Sometimes, alas, the personalities overwhelmed the bigger picture, and while Gross's gossip is guaranteed to have le tout Manhattan buzzing, it doesn't always shed enough light on museum governance to justify its inclusion.
This is tied to a more significant shortcoming. While Gross gives the reader tantalizing glimpses of the ways in which the museum fills (or fails to deliver on) its core artistic mission, it is the personalities and not the institution that are at the heart of the book. That's not surprising -- people are always livelier subjects than buildings or impersonal entities -- the moments when Gross does address some of these issues, such as the Met's reluctance to display works of living artists, the problematic pedigrees of many antiquities in its collection and the debate over deaccessioning objects (museum-speak for selling), are among the strongest but are also usually cut short. Too often the question of what makes a great collection -- personal or museum -- is pushed to the back burner in favor of more gossip about the people doing the collecting and curating. I'd have loved to know, for instance, whether Diana Vreeland ever outlined a curatorial philosophy for the Costume Institute she helped to create in its current form, and could gladly have done without some of the details of the society matrons banding together to pay her salary, one small example among many.
More broadly, readers who aren't familiar with art and the art market, reeling off the lists of objects various trustees and donors handed over to the Met (or, in some cases, that the Met sought and didn't get) becomes wearing; there's little there to explain why certain objects were sought after, how museums approach their curatorial role, etc. It's a bit like wandering into the Met itself without one of Philippe de Montebello's tape-recorded guides to the collection and trying to make sense of the whole thing. When Gross does tackle this, he does so with a wonderful eye for the telling anecdote and the hilarious detail, as in the vivid and hilarious saga of how one wealthy Jewish widow, once snubbed by the museum establishment, later had the same curators literally tripping over each other to woo her as a donor once they realized what a magnificent collection she and her late husband had accumulated over the years.
It's that kind of material that makes this book another truly great yarn in his series of books devoted to the doings (and misdeeds) of Manhattan's self-anointed elite. This one just happens to be set against the backdrop of the social climbing that goes on as the city's nouveau riche set their sights on joining one of the Met's acquisition committees or other boards. While I can understand the Met's reluctance to put themselves at Gross's mercy -- imagine what scandals he could have unearthed with unrestricted access?? -- their failure to do so, together with the examples Gross lists of the ways in which the Met still acts as if it were a private club, raises once again the very serious issue of just how accountable they are to the non-elite: those of us who aren't millionaire or billionaire art collectors.
This isn't the definitive warts-and-all book on the Met, for the reasons given above. (Which are also the reasons that I've rated it four stars, rather than five stars.) But with summer fast-approaching, it's a wonderful book to tote to Central Park and read sitting on the Great Lawn while gazing at the vast bulk of the Met on the horizon. Alternatively, take it to the beach and read while sipping a daiquiri and marveling, yet again, at the follies of those who believe that great wealth or pedigree confers upon them great wisdom and judgment. If you're looking for a historic view of the link between art and commerce, try the marvelous Medici Money: Banking, Metaphysics, and Art in Fifteenth-Century Florence (Enterprise), an immensely readable history. For insight into the perennial debate over who owns art, try Loot: The Battle over the Stolen Treasures of the Ancient World, a book that is just as lively and a bit more focused on the art and less on the gossip of the art world. The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition is a scholarly look at what makes a museum; while excellent, it's a far more ponderous read. Another glimpse of the Met is given by Calvin Tomkins in Merchants and Masterpieces: The Story of the Metropolitan Museum of Art, whose credentials as a surveyor of the art scene are far more solid than Gross's but who, as Gross points out, subjected his own book about the Met to review by the museum's honchos -- a journalistic no-no that would/should lead readers to question its objectivity about the institution itself.
21 of 22 people found the following review helpful.
wonderfully detailed read but Kindle version has problems
By Cape Pug
This is a fascinating glimpse into an amazing museum and into a life that most of us would have no chance to ever be a part of. What strikes me most is not the incredible amount of money and privilege but the owning of paintings that I know and have seen at The Met- the stories behind many of them having once been hung in someone's apartment. It's just hard to take in. The fact that someone needs generations of connections to be part of this world. The politicking makes politics look like nothing.
The details and stories are so rich. I can't imagine how long it took to research this book. Having just finished reading it last night I am dying to take a trip to NYC now.
Now, the Kindle version is very disappointing. There are countless typos and information left out. A painting sold for "%&@"... what does that mean?? How much did it sell for? Or someone is worth "si^*%^^" million dollars. Huh? Or a name will appear as characters I can't even find here on my keyboard. Or the new wing cost "-*^^" million dollars. It was incredibly frustrating.
29 of 33 people found the following review helpful.
A Wonderful Peak Inside The Met
By Charles A. Fisher
This is an extraordinary book from an extraordinary writer. I grew up ten blocks from the Met and spent my childhood being dragged there against my will, but I was still in awe of the building, the collection, and the many countries and cultures I was exposed to through art.
The solid exterior of Hunt's main building gives the appearance of order, quiet, perfection and harmony, yet inside there is a fascinating world of great egos, money, power, and hundreds of ghosts, not all of them nice ones.
Gross takes us through the ages, from the post civil war moguls who founded the museum, to the new tycoons of the present age. It is a vast tale, but one which Gross weaves with his usual clipped style, throwing in colorful tidbits along the way.
This is a scholarly book which does not read like one. That is its greatest asset. I now know a great deal about this mysterious institution, and I'm happy to have learned so much in so short a time, and in such a pleasant way.
Charles Avery Fisher
New York, NY
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