The Goldfinch

“Yikes,” I said. “The present’s for Mathilde?” Mathilde was the art director of the advertising firm where my mother worked; she was the daughter of a French fabric-importing magnate, younger than my mother and notoriously fussy, apt to throw tantrums if the car service or the catering wasn’t up to par.

“Yep.” Wordlessly, she offered me a stick of gum, which I accepted, and then threw the pack back in her purse. “I mean, that’s Mathilde’s whole thing, the well-chosen gift shouldn’t cost a lot of money, it’s all about the perfect inexpensive paperweight from the flea market. Which would be fantastic, I guess, if any of us had time to go downtown and scour the flea market. Last year when it was Pru’s turn—? She panicked and ran into Saks on her lunch hour and ended up spending fifty bucks of her own money on top of what they gave her, for sunglasses, Tom Ford I think, and Mathilde still had to get her crack in about Americans and consumer culture. Pru isn’t even American, she’s Australian.”

“Have you discussed it with Sergio?” I said. Sergio—seldom in the office, though often in the society pages with people like Donatella Versace—was the multimillionaire owner of my mother’s firm; “discussing things with Sergio” was akin to asking: “What would Jesus do?”

“Sergio’s idea of an art book is Helmut Newton or maybe that coffee-table book that Mado

I started to ask who Helmut Newton was, but then had a better idea. “Why don’t you get her a MetroCard?”

My mother rolled her eyes. “Believe me, I ought to.” There had recently been a flap at work when Mathilde’s car was held up in traffic, leaving her stranded in Williamsburg at a jeweler’s studio.

“Like—anonymously. Leave one on her desk, an old one without any money on it. Just to see what she’d do.”

“I can tell you what she’d do,” said my mother, sliding her membership card through the ticket window. “Fire her assistant and probably half the people in Production as well.”

My mother’s advertising firm specialized in women’s accessories. All day long, under the agitated and slightly vicious eye of Mathilde, she supervised photo shoots where crystal earrings glistened on drifts of fake holiday snow, and crocodile handbags—unattended, in the back seats of deserted limousines—glowed in coronas of celestial light. She was good at what she did; she preferred working behind the camera rather than in front of it; and I knew she got a kick out of seeing her work on subway posters and on billboards in Times Square. But despite the gloss and sparkle of the job (champagne breakfasts, gift bags from Bergdorf’s) the hours were long and there was a hollowness at the heart of it that—I knew—made her sad. What she really wanted was to go back to school, though of course we both knew that there was little chance of that now my dad had left.

“Okay,” she said, turning from the window and handing me my badge, “help me keep an eye on the time, will you? It’s a massive show”—she indicated a poster, PORTRAITURE AND NATURE MORTE: NORTHERN MASTERWORKS OF THE GOLDEN AGE—“we can’t see it all on this visit, but there are a few things…”

Her voice drifted away as I trailed behind her up the Great Staircase—torn between the prudent need to stick close and the urge to slink a few paces back and try to pretend I wasn’t with her.

“I hate to race through like this,” she was saying as I caught up with her at the top of the stairs, “but then again it’s the kind of show where you need to come two or three times. There’s The Anatomy Lesson, and we do have to see that, but what I really want to see is one tiny, rare piece by a painter who was Vermeer’s teacher. Greatest Old Master you’ve never heard of. The Frans Hals paintings are a big deal, too. You know Hals, don’t you? The Jolly Toper? And the almshouse governors?”

“Right,” I said tentatively. Of the paintings she’d mentioned, The Anatomy Lesson was the only one I knew. A detail from it was featured on the poster for the exhibition: livid flesh, multiple shades of black, alcoholic-looking surgeons with bloodshot eyes and red noses.

“Art One-oh-one stuff,” said my mother. “Here, take a left.”

Upstairs it was freezing cold, with my hair still wet from the rain. “No, no, this way,” said my mother, catching my sleeve. The show was complicated to find, and as we wandered the busy galleries (weaving in and out of crowds, turning right, turning left, backtracking through labyrinths of confusing signage and layout) large gloomy reproductions of The Anatomy Lesson appeared erratically and at unexpected junctures, baleful signposts, the same old corpse with the flayed arm, red arrows beneath: operating theater, this way.

I was not very excited at the prospect of a lot of pictures of Dutch people standing around in dark clothes, and when we pushed through the glass doors—from echoing halls into carpeted hush—I thought at first we’d gone into the wrong hall. The walls glowed with a warm, dull haze of opulence, a generic mellowness of antiquity; but then it all broke apart into clarity and color and pure Northern light, portraits, interiors, still lifes, some tiny, others majestic: ladies with husbands, ladies with lapdogs, lonely beauties in embroidered gowns and splendid, solitary merchants in jewels and furs. Ruined banquet tables littered with peeled apples and walnut shells; draped tapestries and silver; trompe l’oeils with crawling insects and striped flowers. And the deeper we wandered, the stranger and more beautiful the pictures became. Peeled lemons, with the rind slightly hardened at the knife’s edge, the greenish shadow of a patch of mold. Light striking the rim of a half-empty wine glass.

“I like this one too,” whispered my mother, coming up alongside me at a smallish and particularly haunting still life: a white butterfly against a dark ground, floating over some red fruit. The background—a rich chocolate black—had a complicated warmth suggesting crowded storerooms and history, the passage of time.

“They really knew how to work this edge, the Dutch painters—ripeness sliding into rot. The fruit’s perfect but it won’t last, it’s about to go. And see here especially,” she said, reaching over my shoulder to trace in the air with her finger, “this passage—the butterfly.” The underwing was so powdery and delicate it looked as if the color would smear if she touched it. “How beautifully he plays it. Stillness with a tremble of movement.”

“How long did it take him to paint that?”

My mother, who’d been standing a bit too close, stepped back to regard the painting—oblivious to the gum-chewing security guard whose attention she’d attracted, who was staring fixedly at her back.

“Well, the Dutch invented the microscope,” she said. “They were jewelers, grinders of lenses. They want it all as detailed as possible because even the tiniest things mean something. Whenever you see flies or insects in a still life—a wilted petal, a black spot on the apple—the painter is giving you a secret message. He’s telling you that living things don’t last—it’s all temporary. Death in life. That’s why they’re called natures mortes. Maybe you don’t see it at first with all the beauty and bloom, the little speck of rot. But if you look closer—there it is.”

I leaned down to read the note, printed in discreet letters on the wall, which informed me that the painter—Adriaen Coorte, dates of birth and death uncertain—had been unknown in his own lifetime and his work unrecognized until the 1950s. “Hey,” I said, “Mom, did you see this?”

But she’d already moved on. The rooms were chilly and hushed, with lowered ceilings, and none of the palatial roar and echo of the Great Hall. Though the exhibition was moderately crowded, still it had the sedate, meandering feel of a backwater, a certain vacuum-sealed calm: long sighs and extravagant exhalations like a room full of students taking a test. I trailed behind my mother as she zigzagged from portrait to portrait, much faster than she usually went through an exhibition, from flowers to card tables to fruit, ignoring a great many of the paintings (our fourth silver tankard or dead pheasant) and veering to others without hesitation (“Now, Hals. He’s so corny sometimes with all these tipplers and wenches but when he’s on, he’s on. None of this fussiness and precision, he’s working wet-on-wet, slash, slash, it’s all so fast. The faces and hands—rendered really finely, he knows that’s what the eye is drawn to but look at the clothes—so loose—almost sketched. Look how open and modern the brushwork is!”). We spent some time in front of a Hals portrait of a boy holding a skull (“Don’t be mad, Theo, but who do you think he looks like? Somebody”—tugging the back of my hair—“who could use a haircut?”)—and, also, two big Hals portraits of banqueting officers, which she told me were very, very famous and a gigantic influence on Rembrandt. (“Van Gogh loved Hals too. Somewhere, he’s writing about Hals and he says: Frans Hals has no less than twenty-nine shades of black! Or was it twenty-seven?”) I followed after her with a sort of dazed sense of lost time, delighted by her preoccupation, how oblivious she seemed of the minutes flying. It seemed that our half hour must be almost up; but still I wanted to dawdle and distract her, in the infantile hope that time would slip away and we would miss the meeting altogether.