Free A Little Learning by Jane Tesh Page A

contest, I think you’d win,” Jerry said.
    A severe-looking woman in black, her silver hair skinned back in a tight bun, overheard him and turned to scowl.
    “This is a fine example of Late Twentieth Century mood pieces. The artist is one of our brightest young people working in three dimensions.”
    “Of course,” I said. “It’s very dynamic.”
    This seemed to appease her. “Good choice of words.” She held out a thin hand. “I’m Letticia Booth, curator of the Weyland Gallery.”
    Oh, great. One woman I do not want to offend. “I’m Madeline Maclin Fairweather, and this is my husband, Jerry.”
    “Fairweather, Fairweather, why do I know that name?”
    “I’m entering your New Artists Show.”
    Her smile made her look more approachable. “Oh, yes. Your ‘Blue Moon Garden’ is quite a nice piece of modern impressionism. I’m looking forward to seeing more of your work.”
    “Thank you. We hadn’t been in the Weyland Gallery and thought we’d look around.”
    She gestured toward a wall filled with paintings. “Allow me.”
    We followed Letticia Booth as she went from room to room, giving us a brief overview of the collection.
    “Now here we have some neo-classical non structured landscapes, and here are the works of Joachim Handlemeyer, a protégé of Van Dyke, who never got the recognition he deserved. And here are our French Impressionists. I believe you’ll be interested in those.”
    As I looked at the beautiful paintings, I thought, yes, that’s the way to suggest the light on leaves. That’s the way to show movement in the grass. I’d almost forgotten how inspiring the classic works could be. I knew immediately how I could improve my landscapes. I wanted more than ever to be a part of this.
    “And in the next room we have some lovely examples of trompe-l’oeil,” Letticia Booth said. “We’re especially proud of the Marquesa still life.” She chatted on until we were back to the pipes and circles.
    “Thank you so much,” I said.
    “My pleasure. Am I to understand that you work full-time as an artist?”
    “Actually, I have my own agency in Celosia, Madeline Maclin Investigations.”
    “I see. And what sort of things do you investigate?”
    “Missing persons, lost objects, and I help with murder investigations.”
    Letticia Booth looked taken aback. “Really? But you want a career in art, as well?”
    Did I want a career in art as well as a career as a private investigator? Why not? Why couldn’t I have both? I gave Jerry a smile. “Yes,” I said, and for the first time, I meant it.
    “Well, that’s quite interesting.” She wore a watch on a long silver chain. She glanced at it. “I have an opening in my schedule. Come to my office. I’d like to hear more about this.”
    Letticia Booth’s office was a vast spacious room decorated in plum and gray with framed black and white photographs of flowers on the walls. Spaced in front of the window were three short Greek columns, each one with a sculpture or vase or piece of modern art placed on top. The view from the window showed a garden with Japanese maples just beginning to turn red.
    “Please have a seat,” she said. “May I offer you some tea?”
    “No, thank you,” I said. The plum-colored chairs in front of her desk were oddly shaped but very comfortable.
    “I really enjoy getting to know our new artists. Tell me how you became involved with investigating crimes.”
    “I used to work at an agency here in Parkland, but I decided to leave and start an agency of my own.” I explained that while Jerry and I were in Celosia to check on a house he’d inherited, I was hired to investigate sabotage at the Miss Celosia Pageant, and in the course of that investigation, found one of the contestants dead backstage.
    “I was able to find out who killed her. And then a director wanted to use the house for his horror movie. Someone poisoned him, and I discovered his murderer, as well.”
    “Very interesting. Do you feel