At Cherry in her cutaway shirt, threading her way through the tables and chairs like the lights are on. "Eva looks at the musicians - all shades of black and brown - blowing out their jazz.
A Black character shows great kindness to a vulnerable, mentally ill young woman, who turns on her. people sort themselves by race when lining up for a bus. for example, how a racially integrated nightclub would never have happened in Nazi Germany, but in the U.S. German characters view with interest how public attitudes about race are sometimes different, sometimes not so different in the U.S. The Powell House program also worked against racism and other discrimination, both with advocacy and with social gatherings, lectures, arts events, and with its own employment practices. And she finds an unlikely source to help her do it: a young Nazi soldier, a blackmailer and thief of Dutch art, who now says he wants to desert the German army.A large, multiracial cast of supporting characters are connected to Powell House, a home run in 1940s by the American Friends Service Committee to help refugees find a new life in the U.S. To make the sale, Isa will need to learn the art istry of a master forger, before the children can be deported, and before she can be outed as a collaborator.
One more forgery, a copy of an exquisite Vermeer, and the Nazis will pay for the rescue of the very children they are trying annihilate. Isa sells her beautiful forgery to none other than Hitler himself, and on the way to the auction, discovers that Truus is part of a resistance ring working to smuggle Jewish babies out of Amsterdam.īut Truus cannot save more children without money.
She sells them a fake-a Rembrandt copy drawn by her talented father-a sale that sets Isa perilously close to the second most hated class of people in Amsterdam: the collaborators. So, when the unpaid taxes threaten her beloved but empty gallery, Isa decides to make the Nazis pay. And masterpiece by masterpiece, the Nazis are buying and stealing her country’s heritage, feeding the Third Reich’s ravenous appetite for culture and art. The “degenerate” art of the Gallery de Smit is confiscated, the artists in hiding or deported, and her best friend, Truus, flees to join the shadowy Dutch resistance. Isa de Smit was raised in the vibrant, glittering world of her parents’ small art gallery in Amsterdam, a hub of beauty, creativity, and expression, until the Nazi occupation wiped the color from her city’s palette.
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