What’s all this about abstract art being modern?

Abstract art is as old as humankind. Look at prehistoric art, ancient art, art of the Middle Ages, art of the Renaissance, and you’ll find abstract art there as well.

The completed “abstract” piece is not abstract to the artist. After all, while abstract art may not be revealing external nature, it is revealing internal nature.

Knowing the difference is cumulative and adds up to what is called a distinction.

If you are perfecting some thing that you have made before, then it is craft—it is technique.

If you are making some thing that has never been made before, then it is creation—it is unique.

If you don’t know the distinction, then how can you properly present your work? The public is already in enough trouble when it comes to discerning art from craft.

There is plenty of room for excellence in both categories.

Remember, comparisons in art are traps.

The other night on the History Channel, yet another documentary about how the lives of Gauguin and Van Gogh crossed paths in the south of France. Vincent is portrayed as the needy and unbalanced artist. Paul is the egoist who portrays himself as Christ in some of his works.

Ultimately, their temperaments separate them.

Both men loved art first. Then, they taught themselves to be what they loved. And, as artists, they remained steadfast to their vision. Their lives are lessons—an open book for those who see the inner workings of the true artist. Take the best of what they had to offer and reconstitute it within your self.

The price fixing scheme between Christie’s and Sotheby’s of a couple of years ago has flaked off the public’s memory like cheap old paint.

In a previous post, Going Once, I wrote about a New York Times article that reported on a tighter market among the rich players. As it turns out, not all that tight after all, as Christie’s New York recent sale of Impressionist and modern art did turn a profit.

Las Vegas casino mogul Steve Wynn payed $17,367,500 (est. $15,000,000-$20,000,000) for a rare ca. 1895 self-portrait at age 55 by Paul Cézanne. Wynn also bought Renoir’s Among the Roses (1882) for $23.5 million. The large canvas (39 3/8 x 31 7/8 in.) captures Madame Clapisson in the garden of the couple’s mansion in Neuilly-sur-Seine.

Among the Roses was rejected by Monsieur Clapisson who insisted Renoir repaint his wife’s portrait in a more formal manner, which the painter did.

The art marketers are keen on convincing artists that the art public demands to see a lengthy scroll of exhibits, solo shows, awards, and collectors. The art marketers are also keen on convincing the art buying public that this is what “they” want of the artist as well.

The premise is that others who are presumably more astute than you have already “validated” the artist in question. Makes sense? Right?

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