Cynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.
... Cynthia Saltzman has mined a comparatively minor bit of cultural vandalism and produced an absolute gem ... at every moment Saltzman maintains a smooth, easy control over all of it. Plunder is captivating reading, a chronicle full of outsized personalities.
Art historian Saltzman (Old Masters, New World) provides a rich account of Napoleon’s looting of Italian masterpieces as he battled the Austrian Empire across Italy in the late 18th century ... The author’s descriptions of Napoleon’s military and diplomatic campaigns don’t have the same energy and insight as the book’s art history. Still, this is a rewarding look at the legacy of wartime art theft and the turbulent life of an Italian masterpiece.