Letters to Camondo
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- ¥1,500
発行者による作品情報
A tragic family history told in a collection of imaginary letters to a famed collector, Moise de Camondo
Letters to Camondo is a collection of imaginary letters from Edmund de Waal to Moise de Camondo, the banker and art collector who created a spectacular house in Paris, now the Musée Nissim de Camondo, and filled it with the greatest private collection of French eighteenth-century art.
The Camondos were a Jewish family from Constantinople, “the Rothschilds of the East,” who made their home in Paris in the 1870s and became philanthropists, art collectors, and fixtures of Belle Époque high society, as well as being targets of antisemitism—much like de Waal's relations, the Ephrussi family, to whom they were connected. Moise de Camondo created a spectacular house and filled it with art for his son, Nissim; after Nissim was killed in the First World War, the house was bequeathed to the French state. Eventually, the Camondos were murdered by the Nazis.
After de Waal, one of the world’s greatest ceramic artists, was invited to make an exhibition in the Camondo house, he began to write letters to Moise de Camondo. These fifty letters are deeply personal reflections on assimilation, melancholy, family, art, the vicissitudes of history, and the value of memory.
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A sumptuous household museum prompts a reverie on the doomed French-Jewish haute bourgeoisie in this elegiac family history. Memoirist and ceramic artist de Waal (The Hare with the Amber Eyes) addresses an epistolary monologue to Moïse de Camondo (1860–1935), a Jewish banker and collector who bequeathed to the public his palatial home in Paris, along with its art, porcelains, and antiques, in honor of his son, a pilot killed in WWI. De Waal's detailed appreciations of the Musée Nissim de Camondo's furnishings—"the panels that hold the decoration of birds are framed in gold so that this toucan, this mistle thrush has its own little patch of the world, a rock to sit on, a bush to sing at"—open out into a reconstruction of the lives of Camondo's circle of related Jewish families (de Waal's Ephrussi family forebears, who lived nearby, among them) who rose to prominence as intellectuals and patrons but became targets of anti-Semitic ideologues. (The book's later chapters tersely recount the persecution of Moïse's daughter, son-in-law, and grandchildren in Nazi-occupied France and their deaths at Auschwitz.) De Waal's elegant prose, rapt eye for aesthetics, subtle character sketches, and nuanced musings on Jewish identity yield a rich, Proustian recreation of a lost era. Photos.
