One of the mottoes of the Midwest Fine Art Exchange is “No reproductions. Just original art.” It’s true. There are no reproduction or commercial prints on the MFAE site–however, there are prints. Fine art prints by two of the most noteworthy printmakers currently creating in the upper Midwest: Larry Welo and Chad Nelson. Here is an examination of this often misunderstood artistic medium.

“Driftless” by Larry Welo; color intaglio with chine collé. Available on MFAE.

As an appraiser, I’ve had the distinct privilege of working with some prestigious public collections of printmaking in the region. (A portion of one, the Neil Cockerline Collection, is currently on display at the South Dakota Art Museum in Brookings, SD.) I have become deeply fond of it as an artistic medium and am fascinated by its inherently three dimensional process and essentially two-dimensional product. However, alongside my fascination with printmaking is a constant struggle with its nomenclature. In fact, “print” is the most misused art term I encounter day to day.
There are two ways to examine the term “print”–its common use and what it means in the fine art world. In the latter, a print is the product of a delicate, labor-intensive process in which an artist creates an image on a metal plate, stone or other surface, applies chemicals, ink or other pigment, and then runs it through a press (often multiple times) to apply the image onto paper. This entire process is done by hand (and has been oversimplified by this author/appraiser to illustrate a point here so printmakers among us, forgive me). A printmaker might create a series of 15 images using the same plate or stone; each one of them is on a separate piece of paper and is considered an original work of art. They are often numbered and signed below the image in pencil or they are signed as part of the printed image. I have a profound respect for fine art printmakers; the most skilled among them embody tremendous expertise in the nuances of this process AND they have extraordinary drafting and compositional skills. Prints have a viable and active market in the appraisal world—like all fine art, their value can increase based on art market conditions. You’ve no doubt heard of Whistler’s famed etchings. Those are prints–and very valuable, highly regarded ones at that.

“September” by Chad Nelson; woodcut; available on MFAE.

Those who know a bit about art, will you help clear things up for others? I get a plethora of questions about “prints.” In most cases, the person refers to a signed reproduction of a painting. This is quite different from a print in the fine art sense as it is basically a high-quality poster copy of a painting that an artist may have signed and numbered. It is not a work of original art and it didn’t come directly from the artist’s hand. Rather, it came from a photo of a painting which was then mechanically recreated onto paper or canvas. (Reproductions on canvas are often called giclée prints–as highbrow as the French term “giclée” sounds, these too, are merely reproductions). Calling these “prints” does a disservice to printmakers–instead, call them “reproduction prints” or “commercial prints.”
Reproduction or commercial prints do not tend to hold value in the art market. That being said, they can be nice to have around since they allow many people the privilege of living with an image they could never acquire because the original version is in a museum or private collection or is too expensive to afford. Plus, reproduction prints have provided artists a way to earn a living by offering more affordable versions of their work.
The moral of the story is that if you buy a reproduction, know that you aren’t buying an original work of art. Buy reproduction prints because you like the image, not because they are a good investment. On the other side of the coin, if you sell reproduction or commercial prints–don’t offer them with the obscure promise that they will go up in value some day–offer them because their imagery is memorable and they are affordable. Simple as that.

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In a Q and A profile for the Sioux Falls Business Journal, Kara Dirkson discusses some motivations behind developing the Midwest Fine Art Exchange:

Why a regional marketplace for art?

     A big driver behind MFAE is the fact that there is some world-class artwork in the upper Midwest—either created right here by our own artists or bought elsewhere then brought back here by collectors. I am anxious to connect this area with the larger art market that I work with day to day as an appraiser. 

What is the secondary market? Why include secondary market artwork on the site?

     While operating an appraisal practice, I discovered that there simply isn’t a formal secondary art market in this area. Quality art can maintain or increase in value—but only if there is a market for reselling it. As an appraiser trained to evaluate the objective characteristics of value in art and who is connected to a network of collectors, dealers, brokers and artists, I feel like a good person to create such a marketplace.

     Offering an online and a resale outlet for artwork allows artists’ markets to expand beyond their direct relationships with galleries and buyers as well as allows collectors more flexibility in developing their collections. Plus, it will help break down the barriers people have when first purchasing artwork—if there is a possibility for resale in the future, it’s easier to rationalize buying art the first time around. 

Why a virtual or online platform?

     While many aspects of MFAE’s business model are unique, it isn’t the first ecommerce gallery for fine art. In fact, it was inspired by one launched in Australia. Although less common in this region, in the larger art world, art is frequently bought and sold from a distance using the Web as a platform. Auction houses maintain mechanisms for online bidding and buying, brokerage firms keep virtual rather than physcial storefronts and galleries often supplement their business with online sales. Not only is an online gallery feasible in today’s art world, but it is also cost-effective which allows more flexibility with commission rates and the chance to have nearly limitless amounts of inventory.

(This Q & A was featured in an April issue of the Sioux Falls Business Journal published by the Argus Leader.)

A recent appraisal assignment led me to revisit the work of writer and photographer Carl Van Vechten whose work I interacted with during my first exposure to fine art appraising.  Van Vechten is most likely the most famous 20th century portrait photographer you’ve never heard of.

He was a noted writer for the New York Times as well as a novelist and a photographer of celebrities from the 1930s to the 1960s.  He photographed big names such as Ella Fitzgerald,  Cab Calloway, Gertrude Stein, W.E.B. Dubois, Joan Miro, Robert Earl Jones (father of James) and Henri Matisse.  Not only did he hob-nob with celebrities, he exhibited photographs alongside the likes of Man Ray and Ed Steichen and was awarded an honorary doctorate in literature from Fisk University for his portrayal of African Americans in his work.

Van Vechten's photograph of painter Joan Miro, taken in Barcelona, 1935.

Van Vechten is a fascinating character–not only for his public accomplishments but also for the personal turmoil he endured struggling with alcoholism and sexuality issues in spite of two marriages.  He was a ‘good ole’ Iowa boy whose roots were quite a contrast with his colorful cosmopolitan life in New York and Paris.  Chances are you’ve seen his work before but just don’t know it.  In fact, most of the Wikipedia entries on celebrities from the 1930s-1960s feature his photographs.

One of my favorites is a photo of Joan Miro taken in profile with a Barcelona street as the backdrop.  It is a compelling portrait and a compelling subject–Miro, after all, was a reasonably handsome guy. Another is his self-portrait sitting between Gertrude Stein and Alice B. Toklas which was included in a Yale exhibition in 2003 called “Extravagant Crowd: Carl Van Vechten’s Portraits of Women.”

I feel a personal connection to Van Vechten because he was from Cedar Rapids, IA, a town I recently lived in for some 7 odd years.  Also because I once had the pleasure of sitting among and inventorying hundreds of his photos which was like staring into the eyes of celebrities from yesteryear.  I love those connections—-Van Vechten-Iowa-Miro-Fitzgerald-Paris-New York-Harlem Renaissance-Paris-Stein—-all from the comfort of my desk in South Dakota on a rainy morning.  The old cliche rings true–it is a small world.

This starts the first in a series of posts which will be ruminations on individual artists and artwork that, for whatever reason, are front of mind for me at any given time.  Subject matter for the “Art-to-Go” series will be inspired by current appraisal assignments, a mood for the day, a recommendation by a friend or colleague, a restless night’s sleep or the sculptural grace of the trees outside my window.  Anything is fair game, since to me, art in some form is all around and within all.

Art-to-Go today? An all-time favorite. Hénri Emile Benoit Matisse.  A Frenchman born in 1869 whose rivalry with Picasso is one of the great art competitions of the 20th century, he is one of the ‘giants’ of modern art. (For a special treat, check out this video which is a montage featuring highlights from Matisse’s entire body of work to the tune of Debussy. It’s wonderful.)

Matisse, Woman with a Hat, 1905. San Francisco Museum of Modern Art.

Compared to Picasso, Matisse always strikes me as less stormy and more reflective and nurturing; in some ways, like the neighbor who whistles a happy tune to himself as he walks down the street. Picasso, on the other hand, strikes me as intensely moody and impetuous–one who thinks too much of himself to acknowledge you as he grumbles past.  I’m not being entirely fair to each artist with these characterizations; but the point is, some days are Matisse days for me and other days, I am a Picasso.  Today, with the lovely breeze and cool air as we are on the cusp of the season changing, is a Matisse day.  Certainly, the fact that it is Friday helps.

Here’s to Matisse.  And to Fridays.

“I have always tried to hide my efforts and wished my works to have the light joyousness of springtime, which never lets anyone suspect the labors it has cost me….”  -Matisse

A remarkable exhibition is coming to the Midwest–the Minneapolis Institute of Arts has collaborated with the North Carolina Museum of Art and the Cleveland Museum of Art to curate the largest exhibition of Rembrandt’s work to ever appear in the U.S. The show opens in Minneapolis June 24th and runs through Sept. 16, 2012.  Remarkably, most of the works are being lent by private collectors for this landmark show rather than coming out of archival storage from the hosting or other lending institutions.

Marketing image for the MIA's Rembrandt in America Exhibit on display from June 24-Sept. 16, 2012.

Rembrandt was prolific. It is believed that he created 600 paintings, 300 etchings and 1,400 drawings.  He emerged from the context of Protestant northern Europe during the 17th century and was able, for the most part, to make a living with his talents by gaining the patronage of figures in the wealthy Dutch merchant class.

He inspires a unique fascination among art historians not because of his masterful technique, but because of one of his most common subjects–himself.  Of his large body of artwork, at least 100 works were devoted to self-discovery through self-portraiture.  Call it a visual autobiography, if you will.

One of the newest additions to this subject matter is a fascinating piece referred to as “Rembrandt Laughing.”  This work was authenticated by Ernst can de Wetering of the Rembrandt Research Project in 2008 and reveals a disarmingly confident, naive and carefree image of this passionate and later, more reserved, artist.

Rembrandt Laughing, Rembrandt van Rijn (c. 1628); Authenticated in 2008.

It’s an amazing work, really.  Especially when examined in the context of his other self-portraits.  What a stormy, self-reflective genius of a painter Rembrandt was!

Read more about the authentication of Rembrandt Laughing at Art Observed and view a fascinating video analysis of some of  Rembrandt’s most well-known self-portraits.

(Going to see the exhibition? Please share your impressions of it here or on Artísia’s Facebook page for Stendhal Syndrome.)