Roberto Coromina, Untitled, 2002, oil on paper, 25.6”x32”. Courtesy Magnan Projects, New York.
“Collectors have achieved a central role in contemporary art, not that the spirit of today’s collectors has less or nothing to do with yesteryear’s philanthropist or maecenas. With the advent of neo-capitalism and neo-con philosophy, new players and distant economies have descended upon the arts with a set of new motivations that loathe the great charm of the cultural benefactor in his relationship with “the men of genius” who formed his circle. The original simplicity, cordiality and sincerity have given way to aggressiveness, benefit-seeking, and vanity. This attitude, that for decades was considered by Europeans typically “American,” is finding its way among European private collectors.”
Pablo Picasso. Portrait of Kahnweiler. 1910. Oil on canvas. Art Institute of Chicago, Chicago, IL, USA.
The history of art shouldn’t take such an artist-focused perspective.
While it makes constructing a historical narrative easier (the “Great Man” theory of history), it overlooks the importance of the artist’s vast retinue of supporters that made his/her achievements even possible.
For nearly every “important” artist there has been the supportive gallerist (Daniel Kahnweiler, Virginia Dwan, Betty Parsons, Leo Castelli), the adoring critic (Clement Greenberg, Kahnweiler (again, wily devil!)), and the wealthy patron (Stein, Saatchi, Broad). Most importantly there has been the marketplace of ideas and money that deemed the artist’s work valuable – culturally and financially (granted it’s a small marketplace made up mostly of wealthy aethetes and intellectuals but it’s a market nonetheless).
Certainly art history does not completely overlook these factors but it does devalue their importance compared to artists’ biographies, output, and ideas.
I would propose a history of art that focuses less on the artists but on the gallerists, critics, patrons, and markets that enabled the rise of “important artists.” A history of art that attempted to explain WHY the marketplace of ideas was READY to value certain artists at certain times.
While we’re on this subject look at this article about the role artist’s wives play in their husband’s success. If you want a case study in devotion look to Barnett Newman’s wife who worked TWO JOBS for decades to support her husband while he painted, cavorted about town, and … that’s right … didn’t work. He left a legacy, sure. Her? Nothing.
