(RE)INVENTING TRADITION title of the 1982 exhibition “Classical Realism: The Other Twentieth Century.” Lack chose the term in an attempt to differentiate his brand of realism—which descended from the lineage of the Boston Impressionists—from that of other representational artists. In an American Artist article published in the 1990s, Stephen Gjertson and Kirk Richards explained, “Lack knew that within the context of art history, classical realism was an oxymoron. … Nevertheless, he combined the tenets of classicism and realism with the prin- ciples of Boston Impressionism to describe an Starting in the artistic point of view characterized by an overall 1980s, classical love and respect for the great traditions of Western art. … Classical Realists often idealize or stylize realism emerged as their work for the sake of beauty and harmony. a vital representa- Their work is classical because it exhibits a pref- tional art movement. erence for order, beauty, and completeness; it is realist because its basic vocabulary comes from This article looks at the representation of nature.” some of the original proponents of the practice and the schools that continue to pursue this tradition today. by ALLISON MALAFRONTE THE CLASSICAL REVISITED n the 75 years that American Artist has been in print, Realism, which was founded in ABOVE the pages have been filled with everything from fine 1989 by a group led by Richard F. Hans by Daniel Graves, 1 3 art and sculpture to commercial illustration and fash- Lack, a Minnesota artist who had 2005, oil, 27 ⁄2 x 23 ⁄4. ion design. The most prevalent topic in the last 50 or studied with Boston painter R. H. Collection the artist. Iso years has been fine art, specifically realist approaches to Ives Gammell during the early OPPOSITE PAGE drawing and painting. One subject that was reported on exten- 1950s and later established Atelier Rachel Weeping sively throughout the 1990s was the revival of classical styles Lack, in Minneapolis, in 1969. for Her Children by Stephen Gjert- and the artist-run ateliers and academies emerging in America The term classical realism was son, 1988, oil, 28 x and abroad that supported this movement. This came on the coined by Lack during the early 16. Collection Kirk and Linda Richards. heels of the establishment of The American Society of Classical 1980s, when it was used in the 46 AMERICAN ArtIST March/April 2012 www.ArtistDaily.com www.ArtistDaily.com AMERICAN ArtIST 47 OPPOSITE PAGE Whether following The Bookbinder Lack’s definition of by Daniel classical realism or in- Graves, 1987, oil on canvas spired by principles mounted on and practices of other board, 1 artistic traditions, numer- 15 ⁄2 x 11. Pri- vate collection. ous schools teaching This painting was featured in some form of academic Daniel Graves’ painting have been cov- article in the December ered in American Artist 1988 issue in recent years. Readers of American Artist, written have been given an by Gerald M. inside look at how these Ackerman. institutions were estab- lished, the tenets their leaders espouse, and how one can get those who have the drive, dedica- The Gift lifes; and eventually work- accepted to train there. The founders tion, and determination to work in by Daniel ing from the live model. Graves, of these schools surely broke ground the rigorous manner these programs 2006, oil, In many of these schools against a lot of resistance and criti- demand. Although each school varies, each the sight-size method is 53 x 54. cism, but all felt compelled to establish curriculums frequently require a slow, Collection employed; anatomy is stud- the type of serious art education that progressive movement toward the goal the artist. ied and/or écorché models was not available to them as students. of painting, starting with drawing in are built to understand the Academies and ateliers that spe- graphite and charcoal from Bargue body’s structure; and art-historical exer- cialize in the style of the Old Masters plates or casts; painting in grisaille cises, such as copying masterworks or attract a minority of practicing artists, (tones of gray); painting full-color still attending lectures on painters of the 48 AMERICAN ArtIST March/April 2012 www.ArtistDaily.com past, are used to inform the hours of standards of aesthetics, and a stronger Self-Portrait With Palette daily drawing and painting. commitment to beauty.” by Jacob Collins, One of the first American artists Now, more than two decades after 1997, oil, 40 x 34. to start an academy in Europe was it began, what has happened with This painting was featured Daniel Graves, who established The this resurgence of interest in classi- in M. Stephen Florence Academy of Art in 1991. cal ideals? Although opinions vary Doherty’s article on Jacob Collins Having learned from several of the as to where the art establishment is in the August th most influential realists of the 20 headed and where the various strains 1998 issue of American Artist century—including Joseph Sheppard, of realism will find themselves in the titled “Academic Frank Russell, Richard future, few would disagree that the Achievement.” Serrin, Richard Lack, RIGHT classical approach gives artists a high Pietro Annigoni, and John level of competency in drawing and Nerina Simi—Graves by Jacob Collins, painting and a humble understand- 2011, oil, 19 x 19. offers a great link to the Courtesy Adelson ing of the historical context in which past, and he continues Galleries, New they practice. Whether artists choose to stress to his students York, New York. to continue in this time-honored the importance of a manner or explore other avenues of time-honored visual BELOW stylistic expression, they will always Dedicated language coupled with students of have a firm foundation to fall back on the originality of a per- drawing, painting, and a universal vocabulary with which and sculpture sonal message. working at Jacob to express endless messages about This is a principle Collins’ Grand their lives and times. A Central Academy, that Graves has stood in Manhattan, in by since the begin- 2009. Allison Malafronte is the senior editor of ning of his teaching. American Artist. “You know [as an art- ist] that you are challenged by the works pass on [these classical techniques to About six years after Graves founded of the past, but you can’t stop there,” students] not so that they produce work The Florence Academy of Art, Jacob said Graves in his cover story of the that is an imitation of the past but so Collins was rising in visibility and 1988 issue of American Artist. “You try they can go into the world and create popularity as a classical realist painter to live in the present, to keep your work works of art in a language that has long in a very modern New York City art relevant and accessible in our time.” In been used by artists and understood by scene. In 1997, he and a small cohort a 2009 article, Graves wrote, “I want to people of all levels of society.” of his contemporaries started the Water Street Atelier, in Brooklyn, which later morphed into the Grand Central Academy of Art, in Manhattan. In a 1998 article on the Water Street Atelier, former American Artist editor in chief M. Stephen Doherty quoted Collins as say- ing, “This is such a cherished moment when artists realize they can dedicate themselves to this kind of painting with- out concern for fads and fashions. They aren’t chasing fame and fortune like other New York artists. They are follow- ing their hearts. … This is an important moment in the history of painting, and I hope to be a part of the changes that will take place.” Doherty concluded the arti- cle by stating, “Collins harbors the goal of helping to lead a generation of paint- ers to a greater knowledge of art history, more advanced technical skills, higher 50 AMERICAN ArtIST March/April 2012 www.ArtistDaily.com.