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- March 2014: Portrait of a Novel: Henry James and the Making of an American Masterpiece
- February 2014: Forged: Why Fakes are the Great Art of Our Age
- January 2014: Full Upright and Locked Position by Mark Gerchick '73, P'13
- December 2013: This Indian Country by Fred Hoxie '69
- November 2013: The Partner Track by Helen Wan '95
- October 2013: The Forage House by Tess Taylor '99
- September 2013: Inferno by Dan Brown '86
- August 2013: Six Years by Harlan Coben '84, P'16
- July 2013: The Gods of Heavenly Punishment by Jennifer Cody Epstein '88
- June 2013 - Brothers Emanuel by Ezekiel Emanuel '79
- May 2013 - Cadaver by Jonah Ansell '03
- April 2013 - Masters of Disaster by Chris Lehane '90
- March 2013 - Schroder by Amity Gaige
- February 2013: El Iluminado by Ilan Stavans
- January 2013: Everything Under the Sun by David Suzuki '58
- December 2012: Arcadia by Lauren Groff
- November 2012: The Hidden Europe by Francis Tapon '92
- October 2012: The Price of Inequality by Joseph Stiglitz '64
- September 2012: Tubes: A Journey to the Center of the Internet by Andrew Blum '99
- August 2012: Hitlerland by Andrew Nagorski '69
- July 2012: Dinner: A Love Story by Jenny Rosenstrach '93
- June 2012: Vineyard at the End of the World by Ian Mount '92
- May 2012: God's Jury by Cullen Murphy '74
- April 2012: Big Birthday by Kate Hosford '88
- March 2012: EyeMinded by Kellie Jones '81
- February 2012: 1493 by Charles Mann '76
- December 2011: The Vices by Lawrence Douglas
- November 2011: Don't Cross Your Eyes by Aaron Carroll '94
- October 2011: Come On All You Ghosts by Matthew Zapruder '89
- September 2011: The Pale King by David Foster Wallace '85
- August 2011: Scoundrels in Law by Cait Murphy '83
- July 2011: Terror and Wonder by Blair Kamin '79
- June 2011: What Should I Do? by Professor Alex George
- May 2011: Model Nazi by Professor Catherine Epstein
- April 2011: A Thread of Sky by Deanna Fei '99
- March 2011: Unlikely Allies by Joel Paul '77
- February 2011: Secret Historian by Justin Spring '84
- December 2010: The Best of Foxtrot by Bill Amend '84
- November 2010: Higher Education? by Andrew Hacker '51
- October 2010: Routes of Man by Ted Conover '80
- September 2010: The Facebook Effect by David Kirkpatrick '75
- August 2010: Innocent by Scott Turow '70
- July 2010: Simple Fresh Southern by Matt and Ted Lee '93
- June 2010: Ballet's Magic Kingdom by Professor Stanely Rabinowitz
- May 2010: Ecological Intelligence by Daniel Goleman '68
- April 2010: Andean Express by Adrian Althoff '04
- March 2010: Freefall by Joseph Stiglitz '64
- February 2010: Beautiful Creatures by Margaret Stohl '89
- December 2009: What to Read When by Pam Allyn '84
- November 2009: On Poets and Poetry by William H. Pritchard '53
- October 2009: Julie & Julia by Julie Powell '95
- September 2009: Rules for Old Men Waiting by Peter Pouncey
- August 2009: The End of Overeating by David Kessler '73
- July 2009: The Mirror Effect by Dr. Drew Pinsky '80
- June 2009: Art and Politics of Science by Harold Varmus '61
- May 2009: Hold Tight by Harlan Coben '84
- April 2009: Passing Strange by Marni Sandweiss
- March 2009: Skeletons at the Feast by Chris Bohjalian '82
- February 2009: Loneliness as a Way of Life by Tom Dumm
- January 2009: Painter from Shanghai by Jennifer Cody Epstein '88
- December 2008: The Monsters of Templeton by Lauren Groff '01
- November 2008: The Most Famous Man in America by Debby Applegate '89
- October 2008: The Thing Itself by Dick Todd '62
- September 2008: Are We Rome by Cullen Murphy '74
The Painter from Shanghai by Jennifer Cody Epstein '88
Down the muddy waters of the Yangtze River and into the seedy backrooms of “The Hall of Eternal Splendor,” through the raucous glamour of prewar Shanghai and the bohemian splendor of 1920s Paris, and back to a China ripped apart by civil war and teetering on the brink of revolution: this novel tells the story of Pan Yuliang, one of the most talented —and provocative—Chinese artists of the twentieth century.
Jennifer Cody Epstein’s epic brings to life the woman behind the lush, Cezannesque nude self-portraits, capturing with lavish detail her life in the brothel and then as a concubine to a Republican official who would ultimately help her find her way as an artist. Moving with the tide of historical events, The Painter from Shanghai celebrates a singularly daring painting style—one that led to fame, notoriety, and, ultimately, a devastating choice: between Pan’s art and the one great love of her life.
1. How are Yuliang's experiences of family and intimacy shaped by her Uncle Wu and, later, her life in the brothel? Who do you think are the victims and the villains? Does your opinion on these things change as the book continues?
2. Does Pan Zanhua’s decision to rescue Yuliang surprise you? Why do you think he does it? And how (if at all) does the gesture fit in with his own image of himself as a “modern” man?
3. Yuliang's budding talent for sketching is not revealed until chapter sixteen. Do earlier chapters contain any hints of her artistic abilities?
4. One of Pan Yuliang’s initial difficulties in learning to paint Western-style paintings was in mastering the form of the nude body. Why do you think this was? And once she’d mastered it, why do you think she chose to focus so much of her professional life on this particular form of painting?
5. Both Xudun and Zanhua have strong feelings about both art and it’s place in China’s political development. What two ideologies do these men represent? Are they entirely opposed? Who—if either--do you think Yuliang is more in agreement with?
6. After she moves to Nanjing—after years in Paris and Rome and a stint as an outspoken teacher at the Shanghai Art Academy—why do you think Yuliang submits to acting as "the second woman" to Guanyin in Zanhua's household? Why does Yuliang feel sympathy for Zanhua's first wife? Do you think Guanyin deserves sympathy?
7. At the end of her life, Pan Yuliang had become known in her Paris circle as the "Woman of Three 'No's" for her steadfast refusal to work with dealers, take French citizenship, or enter into love affairs. Why do you think she was so firmly against each of these things? Are they in keeping with the image of her you've formed from reading The Painter of Shanghai?
8. Three decades after Pan Yuliang’s death, her legacy a modern painter is still much-debated, and she remains largely a cult figure in China’s modern art world. Her mentors Xu Beihong and Liu Haisu, on the other hand, are both openly acknowledged as “masters” in China’s art history—both by Western and Chinese critics alike. Why do you think this is? Is it valid? Do you think an artwork’s value lies solely in technical execution, or are there other factors that determine its importance?
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