Publisher’s Letter

NEW HOPE FOR REALISM

As a man on a mission, I had three art-related goals I wanted to see fulfilled in my lifetime. One was furthering appreciation for plein air painting, which is why

I founded PleinAir magazine in 2004. Due to lack of support, we retired it for a couple of years, and then it roared back to life in 2011.

We have just finished celebrating its first full decade of robust health. The second goal was to promote the making of portraiture from life, which is why more than 26 top artists have been commissioned to paint my portrait. (One of them graces this page.) The final objective has to do with this magazine, Fine Art Connoisseur, which has been guided by a different set of priorities.

Back in 2004, I believed that realist art was at risk of being lost. Publishers and critics remained enamored with conceptual art and installations, as did collectors and museums.

Through their eyes, realism looked passé, despite the fact that it has evolved constantly over 600 years, with each generation of artists pushing boundaries and embracing innovations in order to advance and thrive. In 2004, the chief problem with realism in the market was that its quality was measurable; everyone could see when it worked and when it didn’t. In contrast, when something cannot be measured, it can be manufactured. Most dealers of contemporary art were all over this fact, especially as there was little quality work available to sell. They ignored the fact that modern art had lost the excitement that ignited the Armory Show in 1913, when highly trained professionals who already had the skills to create realist works chose to push on in new directions.

Over the intervening decades, art educators had come to believe that the holy grail of self-expression required no technical training, so — with a few exceptions — most art schools no longer passed along core skills.

By 2004 it had become clear to me that someone needed to call attention to the underground resurgence of realism and of the technical skills it requires, which were bubbling up at small ateliers and academies in unexpected places around the world. My intention was never to stop the other train, or even slow it, but instead to build a new track and give this young movement its own identity, its own opportunities.

I’ve long urged readers of Fine Art Connoisseur to mark this movement’s monumental moments, and also its small victories. Year after year, for example, we have watched more teaching ateliers open, then still more as their graduates launch their own venues. Now three generations of graduates mean that we have thousands of welltrained artists on the scene — working in the realist tradition while infusing it with their own contemporary concerns and sensibilities, not repeating the past.

There have been encouraging moments, and discouraging ones. The biggest challenge remains the creation of a market — building interest among collectors, getting dealers to take on these artists. It takes time and knowledge to move forward; some have, while others are cautious or risk-averse.

Just last month, I was visiting a major painter who feels it’s all over for realism. But that same day, our own editor cited strong indicators that the resurgence is becoming more visible. Then last month, at the Miami Beach fairs — which still set broad trends in the art world — one of the world’s biggest dealers of cutting-edge art was exhibiting realism.

What’s old becomes new.

Two weeks earlier, I had suggested that if that same dealer were to embrace realism, Publisher B. Eric Rhoads, painted by ADRIAN GOTTLIEB (b. 1975), 2008, oil on canvas, 21 x 16 in., courtesy of the artist

doors would open and the world would change. Think about it: the rise of modernism was fueled by available inventory. Now, with thousands of brilliant artists exploring various forms of realism, inventory is again available.

Those of you who have been collecting these artists may ultimately find you’re holding priceless masterpieces. Those who have yet to enter the market should know that quality is timeless and there are still bargains to be found; but if this trend takes off as predicted, values may soar. (Please don’t take this as investment advice, as I’m not qualified. Buy what you love, and you’ll be fine.)

In this field, we’ve had moments of hope before, but never quite this big. This could change everything.

B. ERIC RHOADS

Chairman/Publisher bericrhoads@gmail.com facebook.com/eric.rhoads @ericrhoads