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A Mirror Garden
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Editorial Reviews
From Publishers Weekly
In this meandering memoir, an Iranian artist from a prominent family shares memories of her posh, wide-ranging life, from the early years under the Qajar shahs to post-revolutionary Iran. Born to a family of wealthy merchant politicians in 1924 in the thriving city of Qazvin, the author attended the first school for girls in her hometown. The family moved to Tehran in 1932 when her father was elected to parliament, and there she enjoyed a privileged life ushered in by the modernization regime of Reza Shah, before various foreign powers invaded the country during World War II. A gifted artist with family connections, she moved to New York to study at Parsons, and her exotic sense of color and design secured her work at Bonwit Teller, an exclusive New York City department store. An early marriage crumbled, but Shahroudy married a second time in 1957 into a high-ranking Iranian family, the Farmanfarmaians. She was then in a position to become an art connoisseur and collector, especially of Iranian folk art such as coffeehouse paintings and mirror mosaics. While her memoir lacks focus, she (along with Iranian-American writer Houshmand) nicely captures a bygone epoch in a very likable voice.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Born in Iran (then still Persia) in 1924, Farmanfarmaian grew up in a large mercantile family whose holdings included vast pistachio orchards outside the ancient city of Qazvin. Her graceful memoir maps an intrepid trajectory: a talent for drawing took her, as a young woman, to New York, where she landed a job as a fashion illustrator for Bonwit Teller, married badly, and entered the art world. A second marriage, to an Iranian aristocrat, brought her back to Iran, where she became an internationally recognized artist. She also set out to discover, collect, and, when necessary, repatriate Persian antiquities and folk art, though almost her entire collection was confiscated when the Shah fell.
Copyright © 2007 Click here to subscribe to The New Yorker
See all Editorial Reviews
In this meandering memoir, an Iranian artist from a prominent family shares memories of her posh, wide-ranging life, from the early years under the Qajar shahs to post-revolutionary Iran. Born to a family of wealthy merchant politicians in 1924 in the thriving city of Qazvin, the author attended the first school for girls in her hometown. The family moved to Tehran in 1932 when her father was elected to parliament, and there she enjoyed a privileged life ushered in by the modernization regime of Reza Shah, before various foreign powers invaded the country during World War II. A gifted artist with family connections, she moved to New York to study at Parsons, and her exotic sense of color and design secured her work at Bonwit Teller, an exclusive New York City department store. An early marriage crumbled, but Shahroudy married a second time in 1957 into a high-ranking Iranian family, the Farmanfarmaians. She was then in a position to become an art connoisseur and collector, especially of Iranian folk art such as coffeehouse paintings and mirror mosaics. While her memoir lacks focus, she (along with Iranian-American writer Houshmand) nicely captures a bygone epoch in a very likable voice.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
Born in Iran (then still Persia) in 1924, Farmanfarmaian grew up in a large mercantile family whose holdings included vast pistachio orchards outside the ancient city of Qazvin. Her graceful memoir maps an intrepid trajectory: a talent for drawing took her, as a young woman, to New York, where she landed a job as a fashion illustrator for Bonwit Teller, married badly, and entered the art world. A second marriage, to an Iranian aristocrat, brought her back to Iran, where she became an internationally recognized artist. She also set out to discover, collect, and, when necessary, repatriate Persian antiquities and folk art, though almost her entire collection was confiscated when the Shah fell.
Copyright © 2007 Click here to subscribe to The New Yorker
See all Editorial Reviews
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