The Art Blog by Mark Mitchell

The Role of the Art Dealer

Posted on November 27, 2015 by Mark Mitchell

The artist sets brush to canvas; the collector hangs a finished piece proudly on the wall of their home or gallery. What happens between these two moments is often obscure to those outside the artistic community. As an art dealer in London, however, it is impossible to ignore the fact that we play an important role in the process.

There is a stereotypical image of the starving artist, and whilst it is not the case for all, many famous artists have struggled to find a market for their work during their lifetime. Vincent van Gogh is often cited as a famous example, although in his case the lack of acclaim and financial success during his lifetime may partly be attributed to the fact that the body of his work was created during the last years of his life. The fact is, while an artist may be exceptionally talented at creating art, they may not necessarily have the skills to market it.

This, then, is the role of the art dealer; to bridge the gap between artist and collector, to champion their chosen artists and bring their work to public attention. Art dealers act as curators, often travelling extensively to create a collection which they can then showcase to the art-buying public in their galleries, at art fairs, and increasingly online.

Individual art dealers will often specialise in a particular period or style; for example, you can find a number of dealers who specialise in Old Masters, or in contemporary art. Here at Mark Mitchell, we specialise in 19^th-21^st century British and Continental fine art.

A selection of works from Mark Mitchell’s collection

For the prospective purchaser of an artwork, this makes it easier to locate a piece which suits their style and taste; simply find an art dealer with similar sensibilities, and their collection is bound to offer pieces you find attractive.

The art dealer may also have an influence in the manner of presentation. Combining an understanding of the current trends in home décor as well as an artistic education, the dealer may choose to present a piece either in an original frame or to reframe it in a manner that will be appealing to the modern purchaser.

For the artist, the dealer offers representation and an advocate to promote their work to a larger audience. For the purchaser, the dealer offers not only a curated collection but also the reassurance of authority. The dealer is relied upon to assure the provenance of a piece – in some cases, with such authority that they are trusted to identify unsigned artworks based on brushwork, form and other stylistic features.

The secret of a good art dealer is, therefore, not only in their knowledge but in the relationships they build. Rather than simply acquire art and sell it on, they build relationships with the artists represented; in the case of living artists sometimes even influencing the work produced. Rather than simply sell any piece of art to the person walking into the gallery, they build a relationship to find that person the right piece of art. In this way, they present a vital part of the artistic community.

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A Voyage Through The History of Seascape Art

Posted on November 10, 2015 by Mark Mitchell

Many purveyors of fine art will have already come across some of the beautiful seascape paintings that have been produced throughout history and will have marvelled at the beauty of the scene; with dark, rolling tides and nautical scenes, there’s nothing not to like about seascape art.

In celebration of this lesser appreciated art style, we’ve decided to dive a little deeper into the history of seascape paintings and art and how it has evolved over the years.

When Was the Term “Seascape” First Used?

Apparently, the term “seascape” was coined around 1790 and was used to refer to paintings which looked out onto the coastline or the sea. This was meant to be a direct comparison to landscape art which focus heavily on land based scenes.

WATTS,-Terry---Winter-afternoon-Lyme-Regis

The subject of the artwork can include anything from the ocean to coastlines and nautical scenes and can even be set out at sea rather than just looking out to sea from a coastline.

Using the ocean in various art forms has been something which has been adopted by many artists throughout the ages, even as far back as 480BC on a pottery piece know as “Odysseus and the Sirens”.

Although it had been used during these early days of art, it wasn’t until the Renaissance period that seascapes started becoming more popular.

The Seas of the 16th Century

The increase in seascape art is mainly contributed to the rise in popularity of the “world landscape” style which was prevalent in the 1520s by Joachim Patinir. More seascapes were including vaster areas of water, although it was still relatively uncommon to see a painting which simply contained the sea.

They were often used to display historical paintings which included many religious and mythological scenes too which can be seen in the “Fall of Icarus” by Pieter Bruegel. However, at the turn of the century where naval warfare was becoming a more popular theme, vessels and battle scenes were at the forefront of seascape art.

The Dutch Ruled the Waves

The Dutch were the rulers of the European seas in the 17th Century, so it’s only prudent that numerous naval artworks were produced.

Naturally, a Dutch artist was said to have founded this movement in the history of art and even changed the perspective of naval and seascape paintings to that of a more natural, eye-level position.

SWAN, Martin - Boats moored at Cowes

One of the most famous seascape paintings from this era is Rembrandt’s “The Storm on the Sea of Galilee” which was finished in 1633.

How Seascape Paintings Look Today

SWAN, Martin - The Hundred Guinea Cup, Cowes

During the early 20th Century, many artists focused more heavily on the tranquillity of the water rather than the roughness of it. The aim was to depict how calm and idyllic the sea could be and to create a more modernist view of the oceans of the world.

Today, seascapes incorporate various techniques from throughout the history of seascape art. Some artists are more focused on detailed, naval-themed pieces whereas others like to depict beautiful coastlines or ocean views. Whatever the scene depicts, we think you’ll agree that there’s nothing better than a sea view.

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The Enduring Appeal of Floral Art

Posted on October 27, 2015 by Mark Mitchell

Since ancient times, flowers have been a frequent subject of artistic attention. The earliest depictions tend to be a decorative addition to the main subject, but increasingly they took prominence as a subject in their own right.

Flower piece, Camilla Gobl

So what is it about the humble flower that attracts such attention? There are many factors; firstly, they are abundantly available, so it is easy to paint a flower from life. Secondly, they offer a fascinating subject for the artist; simple, yet complex, with a vast range of colourations and arrangements available. They are an excellent subject for practice pieces, for refining artistic skills, and then showcasing those skills once mastered.

Finally, they hold great depths of meaning;

“There’s rosemary, that’s for remembrance. Pray you, love,
remember. And there is pansies, that’s for thoughts.”
– Ophelia, Hamlet – William Shakespeare

Flowers have long been imbued with meanings and messages, and have often been used by artists to convey those meanings. Lilies, pale as ghosts, hold funereal connotations; the cherry blossom speaks of fleeting beauty, and cornflowers held an association with Christ and heaven. In portraiture, particularly from the Renaissance period, paying attention to flowers in the background or held by the sitter can provide greater insight into the piece.

For the art lover and collector, of course, flowers are a popular subject because of their aesthetic values; they are, put simply, a very attractive subject to hang upon the wall. Like landscape paintings, they offer a way to bring nature indoors, to preserve that fleeting moment of beauty.

They can, indeed, provide a more permanent alternative to the fleeting nature of real flowers; a vase of cut stems will last only a few days, but a painting can last for generations. During the “Tulip mania” of the 1630s, artistic depictions of tulips were for many the only affordable way to possess variants which changed hands for many times a craftsman’s annual wage.

Vase fleuri de clématites by Marcel Caneel and Guéridon fleuri by Victor Fontaine

Traditional flowerpieces and still life works, such as Vase fleuri de clématites by Marcel Caneel and Guéridon fleuri by Victor Fontaine are the epitome of this oeuvre; an arrangement of flowers composed and displayed much as the real flowers would be, rendered in pleasing detail. However, there are alternate approaches.

One artist who is particularly known for her depiction of flowers is the American artist Georgia O’Keeffe. Instead of taking the traditional route of accurately depicting an arrangement of flowers at something resembling a naturalistic scale, she chose instead to create large-scale paintings, focussed very tightly on the flowers, as if seen through a magnifying glass.

She once said of her work, “nobody really sees a flower, really, it is so small….So I said to myself, I’ll paint what I see, but I’ll paint it big and they will be surprised into taking time to look at it, even busy New Yorkers [will] take time to see what I see of flowers.”

Her accurate, vivid depictions in oil have indeed encouraged people to see what she saw of flowers, becoming exceptionally popular; last November her 1932 work, Jimson Weed/White Flower No 1, seen in the video above, became the most expensive work of art by a woman ever sold, at $44.4m or approximately £28m.

The versatile, complex beauty of the flower in all its forms means that it is certainly a subject with enduring appeal – both for artist and collector alike!

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Painting Restoration: What and Who?

Posted on September 30, 2015 by admin

Art is a wide, wonderful and sometimes weird world, from expressionist masterpieces to stunningly accurate still life paintings; there is a plethora of different avenues and ginnels to explore. The longevity of a piece of art can vary wildly, and while a great deal of how long it lasts can be down to how it’s stored, sometimes there can be a desperate need for restoration, through no fault of the artist or the owner.

What is Painting Restoration?

Painting restoration varies in degrees of both necessity and sheer amount of work that needs to be conducted. Once the paint has dried, your art is going to require a ‘touch-up’ at some juncture; it could be long into the future, it could be a couple of years. Not only that, dirt and dust are gatherers and like to find their way onto your most treasured possessions. Regardless of the effort undertaken by the owner – it will be an undeterminable amount of time – but your painting will require restoring if you want to return it to its former glory.

Painting restoration can also refer to their frames, such as our expert team of antique frame restorers, and can even mean physically damaged paintings. These could be flaking naturally or have experienced some level of impact which renders their visage less effective than it has been formally.

The worn leather chair (Errol’s chair) – Stephen Rose

Who Should I Conscribe?

For many, it can be a serious decision to consider, almost as if your treasured art is to go through some serious surgery – and in a way, it is. It is important to make sure you are comfortable with the procedure and that you trust the ‘doctor’ in charge of your painting’s procedure. In the same way you may look up what your surgery will entail, it’s important to do your research. Even for your own peace of mind, it is sensible to be aware of what your painting requires. If you ask the restorer what restoration work it will entail and even ask for examples of their former restorations, you can help to alleviate any doubt that they are the person for the job.

When it comes to your art, we’re sure you’ll agree that compromises cannot, and should not, be made. Regardless of physical value, each painting is priceless in their own way, capturing a specific point in that particular artist’s life and presenting certain degrees of zeitgeist; each open to their interpretation. So, if you would like to boost your own collection or even speak to one of our team of passionate artists, don’t hesitate to get in touch. You can contact us on 0207 409 7136, where we are always eager to help.

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Important Artistic Movements: Romanticism

Posted on September 11, 2015 by admin

Important Artistic Movements: Romanticism

After having recently looked at the Baroque era of art, it is now, only pertinent that we explore the early 19^th century movement of Romanticism and how this influenced the world of art – providing a basis for the transitions that continued to happen into the 20^th and 21^st centuries.

“Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling.” – Charles Baudelaire

Key Elements

Although the style of the Baroque era was starting to show signs of a huge change across the world, Romanticism went that step further. With the world becoming a more enlightened and knowledgeable place, artists were beginning to reflect this in their art – choosing more natural subjects and exploring the imagination more deeply.

BERTRAM NICHOLLS The weir at Windsor

Important Artists

The Romantic Movement saw the careers of many well known artists including:

William Blake
John Constable
Thomas Cole
Eugene Delacroix
J.M.W Turner

This era saw the Romantic Movement in literature as well as art and featured the likes of Edgar Allen Poe, John Keats and William Wordsworth.

Influence on the Art World

As with any other art movement, Romanticism had a huge and lasting impact – not just on the art world, but on the ever changing culture. Romantic art opened up the way for new subject matters to be explored, particularly landscapes which had been rarely portrayed before.

As mentioned above, the impact of this movement didn’t just affect paintings either, with literature, music and sculpture also becoming heavily influenced by the movement too.

British poets such as William Wordsworth and Samuel Taylor Coleridge are heavily associated with the Romantic Movement and were both involved in the Utopian social movement following the French Revolution.

With regards to music, Mozart, Haydn and Beethoven have been referred to as the three “Romantic Composers” by E.T.A Hoffman in 1810. The term “Romanticism” in music generally refers to the period between 1820 to 1910.

Romanticism and Nationalism

The Romantic Movement focused greatly on the development of folklore and local traditions and customs through art.

However, one of the lasting legacies of this movement has been the assertion of nationalism, which featured heavily in the work of Johann Gottfried von Herder.

Romantic nationalism changed dramatically following the French Revolution. This event and the following Napoleonic nationalism and republicanism inspired many other nations, both in their art and in their way of thinking; they believed that self determination and a knowing of national unity were the reasons behind the French victory in battle.

Here at Mark Mitchell, we enjoy seeing how such art movements inspire and impact on the outcome of other artist’s work. As we have a variety of British paintings for sale, you may be surprised at how many of these works of art are heavily influenced by art movements such as Romanticism.

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Photorealism: A Brief History

Posted on September 7, 2015 by admin

Taken at face value, the term ‘photorealism’ probably seems pretty self explanatory; these are paintings and other works of art, which reproduce images as realistically as a photograph could be expected to. However, scratch beneath the surface a little and you’ll find that the photorealism movement was actually about a lot more than simply producing works which reflected reality; in fact, the use of incredibly realistic images has actually allowed artists to play with ideas of fact and fiction in ways which can’t be achieved through other styles.

Read on, for a brief history of one of the most fascinating art movements…

The photorealism movement emerged out of Pop Art, and looking at some of the works of the genre – especially those from artists like Ralph Goings – it is hardly difficult to see Pop Art’s influence still at work; bright colours and scenes from everyday life often mean that these paintings speak of mass culture as much as they do of high culture.

The initial photorealism movement happened predominantly in America in the 1970s, and as such the paintings from that era capture a slice of American history as seen first through the camera lens and then through the eyes of the individual artist.

These days, of course, the movement has expanded enormously – and artists who may not even identify as photorealists use the style in their work. This means that they have come to represent much more than just America. Take a look at Terry Watts’ ‘Driving in Rain (M11 in Cambridgeshire)’, pictured above, for an example of a painting which captures a quintessentially British scene, the sunlight only just breaking through the rain as the road recedes into the distance.

The technique of photorealism allows artists to mix the real scenes that they use as their base images with their own creative twists, meaning that it can be an exceptionally good style for those who want to make a commentary on the blend of reality and unreality in contemporary life. As such, many artists have focussed on themes of industrial equipment and manufacturing in their works, demonstrating the machines which help to create the modern world.

Returning to the work of Terry Watts, the painting ‘Wire across the field (West Lulworth, Dorset, nr Durdle Door)’ offers a perfect example of this type of work, fresh green fields struck through with telegraph poles and wires.

As an art movement, photorealism has allowed artists to examine the nature of art itself as a medium which reproduces real life, whilst simultaneously creating incredibly aesthetically pleasing pieces. And, as it can be applied to everything from portraits to British landscape paintings, it remains as fresh today as when it was first created.

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The Connotations of Colour

Posted on September 3, 2015 by admin

When looking for European paintings for sale there are a number of features to a painting to consider. One of the most dominant features of a piece of artwork, however, is colour. In the grand scheme of art, colour is a vital part of an artist’s ability to portray the exact feelings and emotions their piece wishes to elicit in their audience.

The colour pallet offers a playpen of emotions awaiting the artists brush. The particular beauty of art is the number of ways a single painting can touch an individual, simply through the representation of colour.

Warm Colours

Warm colours span the range of fiery reds, sunny yellows and deep, warming oranges. An object may be described as being ‘white hot’ though the colour itself carries heavy connotations of winter, ice and everything a dark December morning entails. These warming colours, however, can also carry emotional connotations.

Red

People have a tendency of saying that they ‘see red’ when their immersed in a fit of range. Though while the bold, primary colour can dominate an angry scene, it can also carry the heated connotation of passion and power. Deciding which emotion the colour is to represent falls upon the artists use of brushstroke and the scene being depicted.

Yellow

In a worldwide point of view, yellow signifies happiness. Bright and bold, the primary colour boasts beautiful sunny days and laughter. Flowers painted yellow bring about the beauty of nature and brightens up an otherwise dark image. Alternatively, yellow can induce a sense of fear and sickness, especially when added generously to a particular image.

Orange

Orange holds the velocity of red tempered down with the gently warmth of yellow. It generally depicts a bold, vibrant, flamboyance in artwork, catching the attention of the audience with a vitality that refreshes the painting in a bold and confident manner.

Cold Colours

A cold winters landscape may touch the fabric of your memories with soft whites and greys tinted with crystal like blues and greens. They carry the deeper thoughts of an image, burying into the true meaning of a landscape or portrait to reveal the inner emotion of the piece and thus giving the audience a lot to wonder and marvel at. Some of the more favourite pieces of artwork are found to be those with a deeper symbolism to them than simple surface appearance.

Blues

From peace and tranquillity, to knowledge and power and to sadness and depression, the emotional connotations of blue are vast and powerful. The varied shades and tones of blue can signify a variety of emotional meaning an piece of artwork can thrive off of.

Black

Traditionally black symbolises death and sadness, depicting images that carry a deeper, darker side to their seemingly innocent images. However, black can also carry the power, singling out certain features and highlighting depths to a piece of artwork that may have been otherwise overlooked. Adding sexuality and mystery into the darkness can amass powerful feelings form a single image, no matter how plain.

Green

Green has represented jealousy and evil ever since Eve involved herself with the snake. It’s painted wicked witches in vile shades and transformed beautiful figures into a lovers jealous rage. Despite the power green holds it also represents life, luck and health, drawing on nature and the beauty of fertility.

When creating the perfect art piece yourself, or carefully selecting the perfect landscape for your home, be sure to take great care, to properly admire the piece, and to truly consider what the piece means to you.

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Art of an Island Nation

Posted on August 14, 2015 by admin

What is British art? It is an exceedingly difficult question to answer; perhaps in part because any definition of what it is to be “British” is so complex. Should we consider only artwork by British-born artists? Then we exclude famous works like Hans Holbein’s lost portrait of Henry VIII. Should we consider only works depicting British scenes? Then we exclude many works by famed British artists such as J.M.W. Turner.

Early British Art

Perhaps the earliest work of British art that is widely known today is the Book of Kells. Illustrated by Irish monks, it is thought to have been begun on the Scottish island of Iona, then moved to Kells in Ireland, from whence it takes its name.

However, this seems to have been a spectacular but brief flowering of British artwork; whilst British artists made considerable contributions to both Romanesque and Gothic art, developments in painting from the 15^th century and onwards were pioneered on the continent.

Thus it is that the Tudor courts largely imported continental painters like Holbein and Van Dyck, rather than employing home grown talent, setting a trend that would continue until the 18^th century.

The 18^th Century

It came to be recognised that there was a need to train artistic talent, and in the eighteenth century academies were established in order to achieve this, leading up to the establishment of the Royal Academy of Arts in 1768. Sir James Thornhill, the first native painter to be knighted, and his son-in-law the more prominent William Hogarth, came to the fore in the early eighteenth century, and the trend moved away from Baroque glorification to a more realistic style.

The latter eighteenth century, of course, is widely regarded as the classic age of British art; this is the era of Sir Joshua Reynolds, first president of the Royal Academy, George Stubbs who is best known for his depictions of horses, and of course Thomas Gainsborough.

The 19^th Century and Onwards

The end of the 18^th century and the beginning of the 19^th century were characterised by the rise of the Romantic movement, which brought British artists like John Constable, William Blake and J.M.W. Turner to the fore; today, Constable and Turner are often regarded as the most influential British artists on the international scene. Turner’s influence in particular is important; where history painting was held in the highest regard, his work helped to elevate the regard in which both landscape and seascape paintings were held.

Another prominent English movement was the Pre-Raphaelite Brotherhood; artists including Dante Gabriel Rossetti and John Everett Millais looked for a return to abundant detail, intense colour and complex compositions of Quattrocentro Italian art.

British artists would go on to stand as part of many artistic movements. Charles Rennie Mackintosh was the main British proponent of the Art Nouveau movement; Walter Sickert became an important figure in the transition from Impressionism to Modernism. Post-war artists like L.S. Lowry, Lucien Freud and Francis Bacon used very different techniques and styles, yet all represent British points of view.

As we move into the contemporary era, increasing globalisation meant that artistic movements moved quicker than ever; British artists and thus British art became ever more diverse. As to our original question, the answer can only be; “What is British art to you?”

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Important Artistic Movements: Baroque

Posted on August 6, 2015 by admin

Throughout history, art in all of its forms has been in a constant state of flux, changing moment by moment but always capturing something of the age and the artist. Despite this constant change though, there are marked events, or rather movements, throughout art history that seem to become the style of the time.

One of the most influential movements throughout the 16th and 17th century was known as the Baroque movement.

Key Elements

With increases in trade routes, the world was becoming an ever smaller place and inevitably, as different cultures and religions collided, tensions grew. Add to this the fact that the foundations of modern science were beginning to take shape and you have a world that was changing quickly and the established order was disappearing

The Baroque painting style seemed to recognise how influential this age was and seek to capture it in exquisite and painstaking detail.

Important Artists

As with every major artistic movement there are certain artists that are inexorably tied to them and forever associated with them. Artists from the baroque movement include;

Caravaggio
Frans Hals
Meindert Hobbema
Pieter de Hooch
Rembrandt
Diego Velasquez

Of all these artists, Caravaggio arguably had the most impact and truly moved the art world forward the most. His use of chiaroscurism and hyperrealism coupled with his contentious subject matter ensured that he remains an inspiration to this day.

Influence on the Art World

The Baroque movement has had a drastic and sustained impact on the art world that can be seen as clearly in modern day artworks as in any other age. One of the most impressive and in demand forms of art at the moment is hyperrealism which takes into account the tiniest of details and committing them to canvas.

Modern artists such as Simon Henessey and Laura Quinn are the perfect example of this hyper realistic style being passed down the ages and becoming almost more than photographic. Other factors such as chiaroscuro are beginning to become a huge factor in artists creating paintings that have real attitude and are able to convey mood.

Here at Mark Mitchell, we love to trace the history of today’s art and see the influences and movements reflected in the art that we see and the art that we sell. With a constantly changing and evolving supply of art including portraits and landscape paintings it is always fascinating to see them as a culmination of history.

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Painting the Horizon

Posted on July 6, 2015 by admin

In perspective-based art, the horizon is one of the most important considerations; it is the line towards which all other things in the piece are oriented in order to create a natural, realistic appearance.

Rather than being the horizon as understood in the wider sense of the word – the point where land meets sky – this horizon line is the eye level of the scene’s observer. Indeed, it is just as important in still life paintings where no land or sea are seen as it is in landscape and seascape paintings, and where it is placed and how it is approached can make a striking difference to the piece.

In these two still life paintings, George Weissbort has chosen two different approaches to the horizon. In The jar of salt, the observer is at eye level with the surface of the table, which fills the lower half of the scene. The titular jar towers above, whilst the grapes cascade across the horizon line. It is a somewhat odd viewpoint, as if the observer is kneeling before the table – which, considering the religious connotations of both salt and wine, gives the image a deeper meaning.

In The white coffee pot, with fruit and wine, Weissbort uses a higher viewpoint compared to his horizon line, creating the impression that the observer is instead looking down towards the scene, as if standing before the table. Although the white coffee pot and the jar of salt share certain physical characteristics, the change in viewpoint renders this a far more mundane scene.

When considering landscape paintings, the true horizon naturally plays its part, but the artist’s choice of viewpoint can still create vastly differing scenes.

In Near Martham Broad, West Somerton, Norfolk, Edward Wesson chooses a low viewpoint, emphasising the open flat nature of the scene, the emptiness expressed in an economical use of brushstrokes. The sense is that of a spectator, rather than that of a participant in the scene.

By contrast, his viewpoint in On the Broads is that of a boater, placing the true horizon higher in the piece and creating a sense of immediacy and presence. It is an altogether more personal experience, which places the observer in the heart of a vivid scene and drawing them in to the journey depicted.

In choosing the viewpoint, and thus the placement of the horizon line, each artist makes a conscious decision as to the effect their piece should have; indeed, it would be possible to create two very different pieces of work simply by contemplating the same scene from different viewpoints.