at the Strozzi pictures, strolling through time, reveling in the detail, living through the luscious artistry of the photographer. The short angles, the presentation, the perfect balance of light to show off the art were masterful. The paintings breathed colors into his screen; the sculptures so visceral that it seemed the edge of a bicep or the length of a thigh could be stroked, the flesh alive under the finger.
The photographer on this shoot was truly superb. Gavin couldn’t have done better himself. He played a game with himself. There were only three museum collection photographers he knew who were this talented.
If he were to guess. Gavin went through the photos again slowly, deliberately ignoring the line at the very bottom of the page that would give him the answer. The edging was unique, the angles for the light dramatic. It had to be the work of Tommaso.
That was his only name. Tommaso was reputed to be a difficult man to work with, but one of the most brilliant still photographers in the industry. A rock star in the art world.
Gavin snuck a look. He was right. The pictures were by Tommaso. A bloom of happiness spread throughout his stomach. He knew his stuff, that was for sure.
He shot a message back to Wilhelmina, acknowledging he’d received the photos and would have the catalog press-ready by the deadline. Then he started the laborious process of designing.
Gavin enjoyed his job. He was a freelance graphic designer by trade, and often did work for the printers in downtown Nashville. He did contract work for ad agencies, for sports teams, for all of the cultural corporations of Nashville. But the art photos were his true love.
His studio was off Broadway, way off Broadway, in a small storefront that butted up against the alley for a Thai restaurant. The scent of cumin and rotting cabbage was just bearable. As was the price of the shop. He couldn’t work for someone directly. It was better this way.
His desired vocation was photography, but he’d found it difficult to make a living with his camera. He had skills, but his eye was no match for someone like Tommaso. So he’d started his pre-press business, typesetting catalogs and developing Web sites. His work was sought after, and he quickly rose to prominence. He was known as the quirky designer who wouldn’t talk to clients, only took orders online, didn’t return phone calls but sent plenty of e-mails and never, ever missed a deadline. He didn’t like to talk to people if he could avoid it. There was no point. He just didn’t have that much to say. He couldn’t relate. To be honest, there was very little that couldn’t be expressed in an e-mail.
He was good at his job, and people recognized his talents. In a few short years, he had developed a wonderful niche that made him money and allowed him to revel in art. He typeset museum catalogs. He had started small and worked his way in through a side job designing museum Web sites. Once he was established, he did exhibition catalogs and permanent collection catalogs from all over the country. A couple of years ago, he’d gotten big enough to branch into catalogue raisonnés, the monographs detailing the life’s work of a particular artist. He’d done a lovely job with a Picasso monograph last year, and was bidding to do several more.
That reminded him, he needed to look at the status for the Millais. He scanned his e-mail, but there was nothing from the Tate Britain Gallery in London. Damn. John Everett Millais was one of his favorites, he wanted to win that job.
Nothing to worry about. His current job for Wilhelmina was a dream come true. At the moment, the Frist Center had arranged for a once-in-a-lifetime exhibit. A number of paintings from one of the art capitals of the world, Florence, Italy, were going to come to Nashville, and Gavin had been hired to do the catalogs. Which meant oodles of stunningly beautiful pictures from three of the most famous art galleries in the world, the Uffizi Gallery, the Pitti Palace and the Strozzi.
He forced his attention back to the Strozzi pictures, and started in. It didn’t take long to see that one of the photographs hadn’t downloaded properly. Gavin felt it was divine intervention. He could send an e-mail to Wilhelmina, ask her to contact the photographer and ask for him to resend the shot. Or … Gavin felt his heart beat just a bit harder. Why not? He’d always been an admirer of Tommaso, there was no reason why he couldn’t contact him directly. Was there? Granted, the man was exceedingly private—to the point where he refused any interview that wanted a photograph of him. Gavin wondered if he were disfigured in some way. He could understand the desire to let your work speak for you.
Never one to make a move without thinking it through thoroughly first, Gavin sat back in his chair. If he contacted Tommaso, there would be the slightest chance of mentioning his own work. It might open a few more doors; God knew the Italian worked everywhere. Tommaso’s reputation was well-known all over the world. It might give Gavin a chance to explore past Nashville. They could become friends.
He came back down to earth with a sigh. Like that would ever happen. His friends were all dungeon masters.
But before he lost his nerve, he filled out the contact information on the e-mail and sent a quick note to Tommaso’s address.
Dear Tommaso,
I’m a great admirer of your work.
The catalog photographs from the Strozzi collection are utterly superb. Unfortunately, JPEG 10334 did not come through properly. Would you please resend the original shot?
Thank you so much.
G. Adler
Gavin hit send and sat back, breathing deeply. Should he have said Ciao? Or would that have been stupid? What had come over him? Was it too late? Could he undo the e-mail? What was he thinking?
He ran his hands across his scalp, vaguely noting that his hair was growing back. He’d have to shave again soon. No, there was nothing to be done about the e-mail now. As his mother always said, “Don’t do something you might regret, Gavin.” He didn’t really regret it. Chances were someone as big as Tommaso had an assistant who looked at the e-mail, and the message hadn’t come from him directly, anyway.
He forced the action from his mind, vowing to think about it no more. The rest of the photos were fine, he could work around the missing image for now.
He worked quietly, humming under his breath on occasion, placing photos here and there, getting the most pleasing backgrounds, choosing a variety of accent colors and washes, until he felt comfortable that his settings would showcase the photographs perfectly. This was another nice thing about working for yourself—you could spend an afternoon in contemplation of what shades really did show off the Strozzi paintings, keeping in mind the art that might be coming in from the Pitti and the Uffizi. It was a delicate balance. He was always struck by the fragility of the ancient art pieces. Combined with the robust options the computer provided—Old World Masters and cutting-edge technologies made beautiful bedfellows.
All the information for each painting had to correspond and fit onto the pages of the catalogs: its history, dates and provenance, the artist’s background, the artist’s influences, who donated the cash to allow the loan to take place, every conceivable trivia tidbit was sandwiched into the pages. Small public relations kits needed to be made, and special upgraded catalogs designed for the “Friends of the Frist” to take home from the private opening. And then the catalogs would be reproduced for the Web sites and the gallery showings.
There was plenty of work to be done. Plenty to keep his mind occupied, away from the joy that awaited him at home. That was Gavin’s greatest talent. He could focus. Put away one facet of his being to explore another. He’d been compartmentalizing for years.
Eight
