Laura Morelli, a Yale-trained art historian and author, continues her mission to bridge art history and storytelling with the release of her new historical novel, The Keeper of Lost Art. The book, set in World War II-era Tuscany, draws inspiration from true events and explores the resilience of art and humanity during a time of crisis.
In an interview with Writers Corner, Morelli shared insights into her career, creative process, and the historical inspirations behind her latest work.
From Books to Brushstrokes: A Life in Art and Storytelling
Morelli’s passion for storytelling began early. “Reading and writing have always been part of who I am,” she said. “Even as a child, I would create little books by drawing, writing stories, and stapling pages together.”
After earning a PhD in art history from Yale, Morelli spent years teaching in the United States, Italy, and through her online Art History Academy. Her writing career, she explained, allows her to reimagine the past in emotionally resonant ways, drawing on real moments from art history.
“What drives me,” she said, “is discovering incredible true stories from art history that seem too unbelievable to be real—and then bringing them to life through historical fiction.”
A Glimpse Into The Keeper of Lost Art
Set against the backdrop of Nazi-occupied Italy, The Keeper of Lost Art follows 12-year-old Stella Costa, who is sent to live at her relatives’ villa in Tuscany after her home is bombed. There, she discovers hundreds of masterpieces—including Botticelli’s Primavera—hidden to protect them from wartime destruction. As German soldiers move into the villa and refugees take shelter below, Stella forms a bond with Sandro, an orphaned boy with failing eyesight and remarkable artistic ability.
Describing the novel in five words, Morelli offered: “Renaissance masterpieces hidden in Tuscany.”
The book, she noted, continues a theme seen in her recent novels: how art can inspire hope amid human suffering. “Stella’s journey is about growing up, but also about how art speaks to us—not just to experts, but to anyone open to its message,” she said.
Historical Roots and Real-Life Research
The novel’s premise is based on a little-known true story uncovered during research for Morelli’s earlier book, The Last Masterpiece. She found records of a Tuscan villa where hundreds of priceless artworks were hidden during the war.
“I was captivated by the human dimension,” she said. “What would it be like for an ordinary family to suddenly become guardians of Western civilization’s greatest treasures?”
To capture historical accuracy, Morelli conducted extensive archival and museum research in Italy, visited several Tuscan villas, and interviewed individuals whose relatives had lived through the era. She delved into subjects ranging from wartime rationing to agricultural life in rural Tuscany.
“History contains ‘narrative gaps’—moments where the record tells us what happened, but not how it felt,” she explained. “That’s where fiction steps in.”
Balancing History and Storytelling
One of the challenges, Morelli admitted, was how to incorporate art historical detail without disrupting the flow of the story.
“Should I explain the symbolism in Primavera? How deep down the rabbit hole should I go?” she said. To resolve this, she filtered artistic insights through Stella’s perspective, allowing readers to discover the painting’s meaning alongside the protagonist.
Looking Ahead
Morelli is currently developing a new dual-timeline novel that spans two historical eras she has not yet explored in fiction. Though still in early stages, the project builds on recent research in Italy.
As for her reading list, Morelli is excited about several upcoming titles from fellow historical novelists. “I love reading books set in unfamiliar times or places—it helps me grow both as a writer and a reader.”
