It is safe to say that the world of art can never be the same, once the modern “masters” Dali, Chagall, and Picasso, amongst many, realized the financial and branding opportunities that editions presented to them in the late 60’s, 70’s, and 80’s. The edition served as a helpful tool in not only providing a more accessible price point, but also in increasing the market penetration, and thereby the exposure provided to each artist. Dating back to the late Renaissance, there were artists such as Albrecht Durer and later Rembrandt who utilized the etching of an image onto a copper plate to create multiple impressions of the same image. Indeed, however, the nature of the printing process, guaranteed a “limited run” of hundreds at the most, as the copper plate wore down from the intense pressure of the print. So, the first prints off of the plate were better renditions than those toward the end, and thereby came the term “Artist Proof” as the artist was required to proof the first printed images to assure quality and consistency.
With today’s technology, the original purpose of the artist proof edition has been rendered moot, as newer methods, such as the off-set lithograph, serigraph and giclee provide a consistent level of quality from number 1 to the end of the edition. This results in the artist proof generally being used by art publishers as a form of compensation to the artist, and at that point, an artist may “cash-in” by making these pieces available to the public for sale.
The commercialization of the world of art grew in tandem with the advent of newer technologies. The pressure to publish images with mass appeal, as opposed to unique, one-of-a-kind expressions available only in an original format, increased as various publishers invested in editions of hundreds and thousands of prints. The natural result was art, which appealed on a mass level and had a “safe nature” to it, such as decorator art. This leads me to my definition of what is “fine” and “commercial” art.
Simply said, the moment an artist takes his or her place in front of the canvas or clay and creates an image or form that is based on its ability to be sold versus the personal need or desire to express a concept or image regardless of its appeal, that artist has embarked upon a commercial process. Keep this in mind as you view art within galleries and research the artists’ forums and network of representation. Just because you saw an artist in several different galleries in high profile locations does not necessarily mean that you are purchasing a piece of fine art. Rather, often those same artists are represented by publishers who are relying on mass exposure to sell through the hundreds of prints in which they have invested.
As always, please forward any questions and comments to my e-mail address below. Next issue, look forward to explaining in greater detail the pros and cons of the most recent and common print form known as the “giclee.”
The Christopher Hill Gallery is renowned by collectors of fine art for its unmatched representation of originals and editions by accomplished and emerging artists from Europe and North America. Christopher Hill can be reached at 707-963-0272, 707-337-8127, or info@chgallery.com, chgallery.com.
