Hi, Laura! Can you tell our readers a bit about yourself?
Hello! Thanks for inviting me. I’m an art historian and historical novelist trying to bring the stories of art history to life. I’ve been fascinated with the connection between art and storytelling for more than 30 years. I have a PhD in art history from Yale and have taught in the U.S. and in Italy, and in my online Art History Academy. What drives me is discovering incredible true stories from art history that seem too unbelievable to be real—and then bringing them to life through historical fiction. I split my time between teaching art history and crafting novels that explore works of art during history’s most dramatic moments.
When did you first discover your love for writing and stories?
Reading and writing has been a core part of who I am for as long as I can remember. As a kid, when people asked me what I wanted to be when I grew up, I always said I wanted to be a writer—or maybe an archeologist. I was a super-introvert, daydreamer, and bookworm; my parents read to me all the time. I loved the smell of books, the feel of holding them in my hands. I used to cut out paper, draw pictures, write stories, and staple them together. When you grow up in the South, you are surrounded by great stories and great storytellers. I feel incredibly fortunate that I got to do more or less what I was excited about when I was four years old. But it certainly wasn’t a straight path to where I am today!
Quick lightning round! Tell us:
- The first book you ever remember reading: Richard Scarry’s What Do People Do All Day? It’s an art book!
- The one that made you want to become an author: I couldn’t put a finger on one single book; rather, all the books I’ve ever read contributed in some way to my impulse to write.
- The one that you can’t stop thinking about: Ken Follett’s Pillars of the Earthis probably the only book I’ve read more than once as an adult. I have tried to study how it works, but I just get swept up in the story and forget to analyze it!
Your latest novel, The Keeper of Lost Art, is out now! If you could only describe it in five words, what would they be?
Renaissance masterpieces hidden in Tuscany
What can readers expect?
It’s a coming-of-age story set in World War II Tuscany. Twelve-year-old Stella Costa is sent from her bomb-devastated home to her relatives’ Tuscan villa for safety, only to discover that nearly 300 priceless masterpieces from Florence’s museums are hidden there, too. When German soldiers requisition the villa and refugees seek shelter in the wine cellar, Stella befriends Sandro, an orphaned boy with remarkable artistic talent. Together, they find solace and inspiration in Botticelli’s Primavera while navigating the dangers and complexities of wartime. My last three three novels show how art can bring hope in humanity’s darkest moments, and I hope readers will find the theme threads through this one, too!
Where did the inspiration for The Keeper of Lost Art come from?
While researching my previous novel, The Last Masterpiece, I discovered the incredible true story of a Tuscan villa used as a hiding place for Botticelli’s Primavera and hundreds of other masterpieces during World War II. The facts alone were astounding—priceless art stacked against the walls, German soldiers occupying the same space, hundreds of refugees in the wine cellar. As much as it’s a story about art, I was mostly captivated by the human dimension. What would it be like for an ordinary family to suddenly become guardians of Western civilization’s greatest treasures, especially in the face of such daunting circumstances? That question demanded its own book.
Were there any moments or characters you really enjoyed writing or exploring?
I absolutely loved developing Stella’s character. Unlike my previous novels’ protagonists, who are art professionals, Stella approaches these well-loved masterpieces with completely fresh eyes. Watching her discover the beauty and meaning of these works of art through her friendship with Sandro—who has artistic talent but failing vision—allowed me to explore how art speaks to us across centuries, not just to experts but to anyone open to its message. Their growing understanding of the paintings mirrors their own coming-of-age amid impossible circumstances.
Can you tell us a bit about your research process?
There are so many amazing—and little-known—true stories from the history of art. History contains “narrative gaps”—moments where the historical record tells us what happened, but not how it felt to the people experiencing it. These gaps are where fiction can breathe life into history. The evacuation of Florence’s art treasures was meticulously documented in archival records, but those records don’t tell us about the fear, hope, and daily challenges faced by the people involved. That’s where story lives.
I start with the core historical event—in this case, the hiding of artworks in a single Tuscan villa. My first research layer focuses on establishing the factual framework and timeline: what happened, when, where, and to whom. Then I go to primary sources—documents written during the time period I’m researching. What did people choose to focus on? What did they choose to ignore? I also rely heavily on my training as an art history scholar, because there are so many rich pieces of information to be gleaned even from footnotes.
In Italy, I did a lot of archival and museum research for The Keeper of Lost Art. I also visited many of the Tuscan villas and other buildings that served as hiding places for works of art during World War II. And I was fortunate enough to enjoy the generosity of individuals whose parents and grandparents lived through this incredible and historic experience in Tuscany.
These conversations informed the details of Stella’s daily life—what people ate, wore, how they traveled, what news they received, what work they did. For this novel, I studied agricultural cycles in Tuscany, wartime rationing, and rural education systems, among other topics. I hope to have done justice to the experience of those who lived through this time and who generously shared their experiences with me.
Did you face any challenges whilst writing? How did you overcome them?
In fiction, it’s always challenging for me to work out how much art historical detail to include without stopping the narrative flow, or making readers feel they’re getting a lecture. Should I explain the symbolism in Primavera? How deep down the rabbit hole should I go? In this story, I sought to filter everything through Stella’s gradually developing understanding. As she learns to “see” the painting over time, I hope readers also discover its layers of meaning naturally.
What’s next for you?
I’m working on a new dual-timeline project that takes me into two historical eras I’ve never tackled in fiction before! I’m still in the drafting stage, so there will be many revisions ahead, but I’m enjoying the process. My latest research in Italy has filled my creative well for what promises to be an incredible adventure.
Lastly, what books are you looking forward to picking up this year?
I’m fortunate to have a big pile of advance copies from historical novelist friends whose work I already love and admire—along with a few by authors I haven’t read before. I try to read historical fiction with the eye of a craftsperson, always learning from others. I love reading books set in places I’ve never been or time periods outside my experience—it keeps expanding my horizons as both a reader and writer.
