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The Lost Carving: A Journey to the Heart of Making, by David Esterly
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“A beautiful, intricate meditation on creativity and discovery, on fire and rebirth.” —Elizabeth Gilbert
Awestruck at the sight of a Grinling Gibbons carving in a London church, David Esterly chose to dedicate his life to woodcarving—its physical rhythms, intricate beauty, and intellectual demands. Forty years later, he is the foremost practitioner of Gibbons’s forgotten technique, which revolutionized ornamental sculpture in the late 1600s with its spectacular cascades of flowers, fruits, and foliage.
After a disastrous fire at Henry VIII’s Hampton Court Palace, Esterly was asked to replace the Gibbons masterpiece destroyed by the flames. It turned out to be the most challenging year in Esterly’s life, forcing him to question his abilities and delve deeply into what it means to make a thing well. Written with a philosopher’s intellect and a poet’s grace, The Lost Carving explores the connection between creativity and physical work and illuminates the passionate pursuit of a vocation that unites head and hand and heart.
- Sales Rank: #834300 in eBooks
- Published on: 2012-12-27
- Released on: 2012-12-27
- Format: Kindle eBook
From Booklist
Serious connoisseurs of woodcarving will recognize Grinling Gibbons as the name of one of the craft’s preeminent masters of floral reproduction. Commissioned primarily by the British royalty between the late 1600s and early 1700s, Gibbons became famous for his astoundingly detailed and lifelike renderings of plant life in wood. When in 1986 a devastating fire at Hampton Court Palace destroyed a Gibbons masterpiece, the search went out for someone who could faithfully restore it. Enter master woodcarver and lifelong Gibbons devotee Esterly. Working from journals he kept during the yearlong project, Esterly engagingly describes the challenges he faced, both professionally and psychologically, in reproducing his idol’s work, from political controversy—the royals wanted a Brit, and Esterly is American—to fears of failing his craft. Along the way, readers also get acquainted with Gibbons’ own tribulations and learn how Esterly works. Although few photos of his carving projects are included here, Esterly’s masterfully witty and nuanced prose makes it clear his writing prowess is at least on par with his woodworking skills. --Carl Hays
Review
“This is a strange and wonderful book, simultaneously a meditation on the nature of making and a reflection on time. It is riveting.”—Edmund de Waal, New York Times bestselling author of The Hare with Amber Eyes
"David Esterly's memoir is a beautiful, intricate meditation on creativity and discovery, on fire and rebirth, on culture and history. Truly, this is a story to be pored over with love and admiration."—Elizabeth Gilbert, New York Times bestselling author of Eat, Pray, Love and Committed
"This is a beautiful and remarkable book. David Esterly is a rare bird. First and foremost, he is an artist and a craftsman. A virtuoso carver of wood, he makes objects of sublime beauty and accomplishment that enchant and amaze. He is also a gifted scholar. As a maker, he practices a tradition that operates, as he puts it “near the bedrock” of human cultural activity. His own story is woven through with fascinating insights into this tradition and the towering influences on his own practice. And he is a gifted writer. With the literary sensibilities of a poet, he describes how he came late upon his passion for carving and how the objects he makes take shape from the vibrant relationships between the wood, his tools and his own creative energies. Esterly writes in the same way that he carves - with a nuanced feel for structure and form, a revealing use of metaphor and an incisive sense of style. Part cultural history, part detective story and part memoir, The Lost Carving will enlighten and delight anyone with a real interest in creativity, aesthetics and the human spirit."—Sir Ken Robinson, New York Times bestselling author of The Element
"Every now and then there comes along a memoir that stands out for its beauty, its ability to charm, and its insights into a life given over to art. This lovely book about woodcarving is just such a work. Entrancing."—Alexander McCall Smith, New York Times bestselling author of The Limpopo Academy of Private Detection
“A gripping account of the political maneuverings involved in a major restoration project and an intimate meditation on the nature and meaning of carving…Its heart lies in Esterly’s moving ruminations about the spiritual value inherent in fine craftsmanship and technique…Photos of Gibbons’ magnificent works enhance this romantic, lyrical prose portrait.”—Kirkus Reviews
“Esterly’s masterfully witty and nuanced prose makes it clear his writing prowess is at least on par with his woodworking skills.”—Carl Hays, Booklist
“A big moment for the obscure world of wood carving.”—The Wall Street Journal
"A beautifully written account of craft and inspiration."—The New Republic (Best Books of 2012)
“The Lost Carving is a book about the rewards of hard work and learning to appreciate one’s limits. It’s also an exploration of the ways in which great art can enrich our lives in the most tangible ways. This is a serious, beautiful book.”—The Boston Globe
“Profoundly satisfying. Gorgeous. The Lost Carving is a book about making, not just thinking.”—Star Tribune
“Profound and wondrous. Pulled off with such fluidity. Rich in thought and lovely in style. Esterly is that uncommon thing, a visual artist who can coax as much beauty from words as he can from his primary medium. Breathtaking.”—Salon.com
"A meditation on such universal issues as artisanship, creativity, and experimentation."—Fine Art Connoisseur Magazine
“[Esterly] is in love with the physicality of his art, the flowing together of hand and brain, of chisel and creativity.”—The Economist
“As intricate as his carvings, Esterly has shaped a story that captures the effort and uncertainty that lies behind the creation of art and beauty.”—Publishers Weekly
“[T]he lushness of Esterly’s language, his passion for creation, his reverence for the physical act of work…. [He] approaches life much the way he approaches his beloved wood: with reverence, passion, and respect, but also with a sense of delight.”—Philly.com
“The Lost Carving is beautifully written and hauntingly evocative, a graceful meditation on art and craft…and the ties that bind us to the past.”—Maclean’s (Canada)
About the Author
David Esterly is the author of Grinling Gibbons and the Art of Carving and curated the Victoria and Albert Museum exhibition on Gibbons in 1998. He has been a professional limewood carver since the 1970s and has been profiled in The New York Times, The New Yorker, and The Financial Times. He has written for many magazines, including The Times Literary Supplement and House & Garden. He lives in upstate New York.
Most helpful customer reviews
0 of 0 people found the following review helpful.
As a wood carver, I took special interest in ...
By Noor S. Khalsa
As a wood carver, I took special interest in the subject matter. So I am not sure that everyone would share my passion about the subject, but the author is also a first-class craftsman of words. As an artist, Yeats scholar and student of philosophy, he has much to offer non-carvers as well.
18 of 18 people found the following review helpful.
Wood Carver's Artistic and Philosphical Journey Repairing Damaged Art
By Conny
Title: The Lost Carving - A Journey to the Heart of Making
Author: David Esterly
Publisher: Viking
ISBN: 978-0-670-02380-6
The saying that "art imitates life" rings true in David Esterly's book, "The Lost Carving - A Journey to the Heart of Making" when he states, "The giant was the act of carving, the profession itself: the making of a carving, the making of anything. Making itself. The Ancient of Days in all of us, the impulse to create."
At two hundred and eighty-two pages, this hardbound book depicts on the front cover a photograph of a wood carving assembly consisting of a nonchalant block with shavings along with an almost-too-real-looking carved leaf. Inside there are several black and white photographs of the author, his mentor and some of their artistic, meticulous wood carvings.
Accomplished, self-taught woodcarver and author, Esterly uses his duteous journals from the late nineteen nineties to take the reader artistically back and forth in time to the seventeenth century when he is commissioned to repair and reproduce elegant wood carvings that Grinling Gibbons did for King William III's apartments at Hampton Court near London which were damaged in a 1986 fire.
By not only telling the story of Gibbons' success, failures, frustrations and carving techniques, the writer dovetails his own obsession, loyalty, dedication and even discontent of the unique artist within the pages. The reader learns how Gibbons had to switch from political and religious pieces to flowers, fruits and foliage bouquets of intricate, detailed works of art to vault his unappreciated career.
Through Esterly's eyes, one is told parts of the three-dimensional puzzle that consist of the cherished limewood, the deadly tools of blades and gouges that create the dynamic tensions or breakages, the degrading wax filler that suffocates and colors the true medium, the artist's tricks using Dutch rush for abrasion since sandpaper was non-existent at the time, the hidden layering of unadulterated glued platforms by assistant craftsmen and the centuries of works being hung backward or upside down on the palace walls. With references flowing from Bernini and Koons to Plotinus and Yeats, a tale is told of the angst and questionable acceptance of altering antique artwork to its original status or only remodeling it to current condition with no speculative recarving allowed.
Etching an inch a day at times on the seven foot creation, the writer fights his own decisions, dilemmas and demons when he realizes his own artistic error, as he comes to the potential revelation that he is just another copier adding his own innovative signature on a piece of artwork. With his incessant devotion to Gibbons, his undercurrent challenge to exhibit his long forgotten master's work is caught up in years of red-tape, while the Royal Academy determines if the work is considered sculpture or estate furnishings.
Amongst the colorful art descriptions and details, the self-mocking sarcasm and the fear of fleeting inspiration, the reader cherishes the writer's tone, truth and purpose that each chapter creatively and philosophically captures, wishing it would never end. Even if one is not creative or artistic, this is a fascinating, heart-felt read that anyone who appreciates history or the arts would enjoy.
5 of 5 people found the following review helpful.
A Graceful, Gentlemanly Artistic Read
By daniel Adams
Like a voice from another, wiser century, David Esterly shares the story of his painstaking, trial-and-error work in rediscovering the "hows" of Grinling Gibbons carving. Has he gone beyond Gibbons' level? Esterly is too modest to say but a look at his work will convince. What is so lovely to read is how Esterly's deep roots in the study of Literature and Philosophy enlightened his discoveries. Anyone who lives immersed in creative endeavor will recognize many simple truths about the creative process, expressed in terms that sound chords in the higher mind. A graceful, gentlemanly artistic read.
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