Eric Rhoads is an observer and connoisseur of the fine art and the artists his publication chronicles. He'll hold your attention as he discusses topics of relevance to your marketers as well as your art departments.
What event changed the nature of art in America?
The 1913 Armory Show in New York City was a seminal event. It was the first significant introduction of symbolism, impressionism, post-impressionism, neo-impressionism in this country. Works by Cezanne, Seurat, Van Gogh, Munch, Matisse and Kandinsky got their introduction to an American audience. The way Americans viewed art began to change from that date. The modernist movement was launched.
Though they were called 'modern artists,' how were they trained - and by whom?
Most of those just mentioned received traditional academic art training. It consisted of learning to draw and paint from life, either with models or en plein air. Many of them were taught at The Parisian Salon des Beaux Arts or by mentors who themselves had been so trained. They were rooted in an academic system that involved mastery of the basics of representational art. In many ways, the new modernists were trained in a way very similar to Rubens and David and Bougereau. Once one has mastered the intricate techniques of painting - composition, color harmony, depth and distance, perspective - one has a foundation from which to advance to the next level.
When American schools of art began to teach the modernists work, what happened - and when?
The assumption by many art academicians was that the modernists merely slapped paint. As a result the academicians stopped teaching the traditional basics. It took just one generation for traditional art training to be lost.
As a result, what do you hear from young aspiring artists today?
They tell me it's difficult to encounter classical art training on a college or university campus today. When young students express interest in learning it, they are discouraged, because it's considered 'old school.' Traditions passed down for more than 600 years have been lost almost completely. Thanks to a very few die-hard classicists willing to resist the trend, there are still a couple dozen private ateliers teaching young people today. Studio Incamminati, founded by Nelson Shanks, in Philadelphia is an example. The Florence Academy in Italy and the Grand Central Academy in New York are good examples as well.
So, what is today's avant-garde?
Throughout history art always cycles with societal change. The pendulum swings from traditional to modern and back. This can been tracked for 600 years, and each cycle has completed in 80 to 100 years. We are now moving into a new cycle of traditionalism, which will be a modern interpretation of classicism. In his day, Caravaggio was considered a radical modernist - terribly avant garde. Today you might view Caravaggio as a classicist. In fact, Andy Warhol recognized this. Before he died, Warhol said, "If you train 100 artists in the classical style today, it will change the nature of art in America."
Is that backed up by where the money is being spent?
The new traditionalist cycle has produced several big sellers such as Jacob Collins and Graydon Parrish. Their work has a contemporary feel that exhibits well in a modern art gallery, yet it's rooted in traditional techniques.
Besides his or her craft or art, what should a working artist master?
There are many accomplished artists who can produce stunning works of art. But many of them have been sent into the world lacking survival skills that involve the business aspects of their art careers. Throughout history, numerous accomplished artists never became known because they lacked such skills. In contrast, many substandard artists have become huge financial successes. It's important for artists to master the basics of marketing and promotion if they intend to make a living from their work.
Might college play a useful role in that?
Absolutely. In the course of teaching people for entrepreneurial and business careers, most every college does just that. It's not much of a stretch to do the same for young artists.
What role does arrogance play in the eventual success of an artist?
There is no room for arrogance in any profession. But self-belief is critical to success. Artists, in particular, display an inordinate amount of self-doubt and negative self-image.
How might college play to that?
An artist with a new creation is totally exposed. His or her audience will include supporters and critics in abundance. Colleges who can teach artists how to deal with rejection while cultivating success would have a worthwhile role to play.