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This article is an opinion piece, a review, and a memoir from Miles Mathis about art, particularly contemporary realism and its contrast with older art. Mathis begins by discussing the inspiration for his essay, including an Ebay listing, a video by Alex Jones about art in Austin, and a return to the ArtRenewalCenter. He criticizes the art scene in Austin, describing it as dominated by “Moderns” and filled with talentless offspring of wealthy families and “phony academics.”

Mathis then shifts to discussing his past experience teaching art workshops, which he abandoned due to student disinterest and a lack of proper materials. He draws a parallel to people who ask for advice but then disregard it.

The core of the essay focuses on comparing a painting by Franz Rumpler with a contemporary realist painting by Duffy Sheridan, promoted by the ArtRenewalCenter (ARC). Mathis argues that Sheridan’s work, which closely resembles a photograph, is redundant and lacks beauty or expression beyond the source image. He criticizes ARC and its founder, Fred Ross, for promoting this “copy art” and for allowing non-artists to judge art, leading to the elevation of lesser works. Mathis contrasts this with Rumpler’s painting, which he deems a “little masterpiece” due to its subtle mood, restrained color palette, and masterful composition, achieved through the artist’s intentional choices rather than photographic copying.

The essay then delves into the perceived decline of art, arguing that contemporary realism, particularly that promoted by ARC, has become “garish,” “overpainted,” and lacking in restraint and subtlety. Mathis criticizes artists like Ingres and Sheridan for creating “hard, tight, and emotionless” work. He also discusses other contemporary realist artists, including Jeremy Lipking, Bo Bartlett, and Dan Gerhartz, critiquing their stylistic choices and subject matter. Mathis is particularly critical of Gerhartz’s embrace of a “pretty-pretty style” and his involvement with contemporary social and political themes, which Mathis views as propaganda.

Mathis emphasizes the importance of subject matter in art, arguing that artists must find “good ones” and that the human figure remains an inexhaustible subject. He advocates for studying history, particularly the 19th century, for inspiration. He praises Titian’s portraits as examples of great art that cannot be fully appreciated through web images.

Finally, Mathis discusses his own artistic journey, his decision to move away from the contemporary art market, and his efforts to create meaningful art that goes beyond superficial technique. He laments the lack of recognition for subtle art and the financial challenges faced by artists who refuse to pander to market trends. He concludes by reiterating that true art requires depth, which comes from the artist’s immersion in history and their genuine emotional engagement with their subject.

Summary with Marked Entities:

This article is an opinion piece, a review, and a memoir from Miles Mathis about art, particularly contemporary realism and its contrast with older art. Mathis begins by discussing the inspiration for his essay, including an Ebay listing, a video by Alex Jones about art in Austin, and a return to the ArtRenewalCenter. He criticizes the art scene in Austin, describing it as dominated by “Moderns” and filled with talentless offspring of wealthy families and “phony academics.”

Mathis then shifts to discussing his past experience teaching art workshops, which he abandoned due to student disinterest and a lack of proper materials. He draws a parallel to people who ask for advice but then disregard it.

The core of the essay focuses on comparing a painting by Franz Rumpler with a contemporary realist painting by Duffy Sheridan, promoted by the ArtRenewalCenter (ARC). Mathis argues that Sheridan’s work, which closely resembles a photograph, is redundant and lacks beauty or expression beyond the source image. He criticizes ARC and its founder, Fred Ross, for promoting this “copy art” and for allowing non-artists to judge art, leading to the elevation of lesser works. Mathis contrasts this with Rumpler’s painting, which he deems a “little masterpiece” due to its subtle mood, restrained color palette, and masterful composition, achieved through the artist’s intentional choices rather than photographic copying.

The essay then delves into the perceived decline of art, arguing that contemporary realism, particularly that promoted by ARC, has become “garish,” “overpainted,” and lacking in restraint and subtlety. Mathis criticizes artists like Ingres and Sheridan for creating “hard, tight, and emotionless” work. He also discusses other contemporary realist artists, including Jeremy Lipking, Bo Bartlett, and Dan Gerhartz, critiquing their stylistic choices and subject matter. Mathis is particularly critical of Gerhartz’s embrace of a “pretty-pretty style” and his involvement with contemporary social and political themes, which Mathis views as propaganda.

Mathis emphasizes the importance of subject matter in art, arguing that artists must find “good ones” and that the human figure remains an inexhaustible subject. He advocates for studying history, particularly the 19th century, for inspiration. He praises Titian’s portraits as examples of great art that cannot be fully appreciated through web images.

Finally, Mathis discusses his own artistic journey, his decision to move away from the contemporary art market, and his efforts to create meaningful art that goes beyond superficial technique. He laments the lack of recognition for subtle art and the financial challenges faced by artists who refuse to pander to market trends. He concludes by reiterating that true art requires depth, which comes from the artist’s immersion in history and their genuine emotional engagement with their subject.

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