By Christine Sneed
Featured Art: Self-Portrait in the Artist’s Studio by Emile Masson
Antonio Martedi, a painter and sculptor who had sold what he sometimes boasted were his least interesting works to American museums, told his granddaughter, April Walsh, on what turned out to be the day before his death, that he had not lived in fear of mediocrity so much as the disdain of beautiful women. He had made art because he wanted to be loved, preferably by many beautiful women in a slow but uninterrupted progression, women who would remember him fondly after their affair had ended and keep whatever sketches or canvases he had given them in an honored place in their homes. “But if after a while they sold my work for a good price to someone who knew how to appreciate it, I wouldn’t have held it against them. The money would be another way for me to keep my place in their hot little hearts.” This was the first time April had heard any of this, and she had no idea what had prompted it. Her grandfather had a reserve of stories that he repeated with depressing regularity for a man widely known for his flamboyance. She assumed that she had heard all he was willing to tell by the time she had graduated from film school and was failing to sell her scripts or to get hired as the production assistant’s own scorned assistant.