2 0 1 6 A D V E R T I S I N G G U I D E

Image: Adrienne Stein

In a world consumed with modernism, what started as a small, insignificant trend of contemporary realist painters has blossomed into a significant movement, called Post-Contemporary. It’s the next step in the progress of art, and it includes various forms of realism by contemporary artists. Fine Art Connoisseur is the only publication dedicated to these contemporary realists, highlighting the hot, collectable artists of today as well as the emerging scene for artists in this rapidly growing movement. Fine Art Connoisseur tells the stories of art and art collections of the past as well as the present.

Celebrating Its 10th AnniversaryWe’re pleased that 2016 is the beginning of Fine Art Connoisseur’s 10th year of publishing. As we celebrate, the magazine has already seen a 20 percent increase in national newsstand distribution, and that will be increased further by significant promotion at more than 100 art shows and events, massive promotional campaigns in celebration of a decade of publishing, and significant other promotions.

A Beacon of the Post-Contemporary Art Movement

GR E AT COL L EC TOR S | EL L EN E AGL E | BILT MOR E’ S PR IN TS | T HÉR ÈSE SCH WA RTZE

F E B R UA R Y 2 0 1 6

Ultra-High-End Affluent Collectors

This movement, previously a well-kept secret, is now being embraced by collectors worldwide, and Fine Art Connoisseur has played a significant role in the development of a collector base. Rather than wholesaling copies at low prices to drive circulation numbers with readers who have no ability to purchase paintings, Fine Art Connoisseur has followed a precise, almost surgical strategy in carefully selecting where the magazine is distributed and promoted, avoiding mass audiences and focusing on targeted affluent art collectors worldwide.

What started with a list of hedge-fund billionaires and the upper-level affluent has expanded over the last decade to what many consider the most affluent and difficult-to-reach art-collecting audiences, who are very selective about which publications are allowed into their homes and offices. As a result, we’ve had reports from galleries of significant high-ticket-priced art sales, often by iconic household-name CEOs, investors, and celebrities.

Fine Art Connoisseur MagazineNow in its 10th year of publication, Fine Art Connoisseur is published every other month. It is a full-color glossy publication filled with content about the Post-Contemporary art movement, about collectors and collections, about living and historical artists, and about art events and trends. It is the only magazine 100 percent devoted to the Post-Contemporary art movement. The magazine also publishes a digital edition with each issue.

The magazine is edited by author, curator, and former museum director Peter Trippi, who joined Fine Art Connoisseur in 2006. Peter is a world-renowned expert on John Waterhouse and author of the book J.W. Waterhouse. He has curated many worldwide art shows, has been the director of the Dahesh Museum in New

York, and also has held positions at the Brooklyn Museum of Art and other institutions.

Fine Art Connoisseur is published by Streamline Publishing, which also publishes PleinAir magazine and many online publications. Streamline is headed by publisher Eric Rhoads, who is an avid art collector and patron. Rhoads was honored in the fall of 2015 with the Florence Academy of Art’s first art patron award for his work in promoting and exposing the contemporary art movement. The award was presented to him by Michel Cox Witmer, art patron and board member of The European Fine Art Show (TEFAF). Also honored by the Florence Academy were patrons Christopher “Kip” Forbes and Judith Pond Kudlow, and artists Jacob Collins, Stone Roberts, and Daniel Graves.

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048 J A N U A R Y / F E B R U A R Y 2 0 1 6 F I N E A R T C O N N O I S S E U R · C O M

H I S T O R I CM A S T E R S

B Y C O R A H O L L E M A

n her day, the Amsterdam painter Thérèse Schwartze (1851–1918) was a celebrated portraitist who combined talent and expertise with a head for business. She produced likenesses of the Dutch elite and members of the royal family in a notably un-Dutch style, becoming a millionaire in the

process. Schwartze also established an inter-national reputation, with countless exhibitions and commissions throughout Europe and the United States. The seemingly effortless bril-liance with which she turned out elegant (and sometimes flattering) likenesses of her wealthy clients earned Schwartze much success, but also harsh criticism, especially from advocates for democratization and the renewal of society and art.

Of crucial importance were the upbringing and training she received from her father, Johan George Schwartze (1814–1874). Truly a “citizen of the world,” born in Amsterdam to German parents but raised in Philadelphia, he had stud-ied painting with no less a master than Emanuel Leutze before moving to Düsseldorf for further study. Like a modern “tennis father,” Johan began drilling Thérèse from the age of 5; at 16, she promised to try even harder, so as “to be able to earn my living by painting.” Their shared objective was highly unusual in an era when middle-class women were expected to marry early and well, relying only on their husband’s income. Thérèse’s artist friend Wally Moes recalled, “Because of her father, there was an American element in her character: she did eve-rything on a grand scale and had a certain audac-ity that Dutch people tend to lack.... If paint-ing had not been in her blood, she would have

undertaken something else and made a success of it with the same conviction and passion.”

In 1919, the Nieuwe Rotterdamsche Cou-rant made a conservative estimate that Thérèse had produced approximately 1,000 works of art. This is a substantial number, even bearing in mind that her career spanned 40-odd years.

T H É R È S E S C H W A R T Z E

The Six Boissevain Daughters, 1916, oil on canvas, 51 1/4 x

57 1/2 in., Amsterdam Museum

FACJanFeb16Masters-Schwartze (6 pages).indd 48 12/20/15 1:47 PM

049F I N E A R T C O N N O I S S E U R · C O M J A N U A R Y / F E B R U A R Y 2 0 1 6

Since this translates into an average of more than 20 works per year, we can assume that each commission took Schwartze approximately one or two weeks to complete. Such productiv-ity appears to have been driven in part by her unflagging desire to provide for her extended family, especially since she had no husband. Her determination is revealed by an experience in 1884, when Schwartze and Wally Moes spent four months in Paris painting, exhibiting at the Salon, and networking. On one occasion, Thé-rèse used a moment of inattentiveness on the part of their host to ensure that they would not be late for another important visit. “On impulse,” recalled Moes, “without giving the matter a sec-ond thought, Thérèse swiftly crossed the room to the mantelpiece and put the clock an hour forward. Great astonishment on the part of the host, and profuse apologies for being so late.”

Even after she had become a millionaire, Schwartze continued working with undimin-ished energy. Her reasons may have been deter-mined partly by her family’s history of immi-grant entrepreneurship in the Netherlands, Germany, and the U.S. A strong will to succeed

— and recognition of the very real possibility of failure or bankruptcy — were among their defin-ing traits. This makes it easier to understand why Schwartze focused primarily on commis-sioned portraits, the sale and price of which were always fixed in advance.

DUTCH PORTRAITURE The economic and cultural passivity that

gripped early-19th-century Holland was reflected in the period’s paintings. According to the histori-ans Jan and Annie Romein, “the renewed middle class of the 19th century, with its atmosphere of domesticity and its lack of fresh air, did not give rise to any fascinating new aesthetics.” The rela-tively modest demand for portraits was met by the sedate, skillfully painted images produced by the likes of Cornelis Kruseman (1797–1857) or his second cousin Jan Adam Kruseman (1804–1862), or by Jan Willem Pieneman (1810–1860). These were Schwartze’s precursors.

In the 1860s, however, the Netherlands entered an era of economic recovery, with a rapid expansion of trade and industry, banking, and the transport network. The country started to recover some of its faded international pres-tige, and the nouveaux riches sought to affirm their new status just as those with “old money” had done back in the 18th century — by com-missioning more dynamic portraits. The time was ripe for an artist with Schwartze’s talents: her cosmopolitan background, combined with a flair for pictorial elegance and even ostentation, opened a new chapter in Dutch portraiture.

Schwartze’s early portraits are fairly sub-dued. Her stylistic development can generally be described as progressing from a meticulous technique using darker colors, borrowed from German role models like Franz von Lenbach and Karl von Piloty, toward a lighter tone and more vigorous brushwork influenced by French and Dutch Impressionism. Until 1885 she worked

exclusively in oils, then gravitated toward pas-tels, with which she began experimenting in 1881, and which further encouraged her light-ening of tone. Even Schwartze’s fiercest critics have praised her pastel works for their virtuoso technique. Oddly, we do not know who taught her to use pastels, and it is just possible that she taught herself by studying the works of earlier pastelists. Her first biographer, Willem Mar-tin, points toward several British and French masters from the 18th century, whose portraits Schwartze “must have seen hanging in numer-ous family homes.” She surely appreciated the fact that pastels are easy to transport and require neither a palette nor a waiting period to dry.

STYLE TO ORDER

Because she painted for a living, Schwartze had few qualms about bowing to her clients’ preferences. This obliging attitude is well illus-trated by the 1916 portrait of the six Boissevain girls, illustrated here. When the parents asked Schwartze to depict their daughters, they were already familiar with her 1906 portrait of Aleida

Gijsberta Maria van Ogtrop-Hanlo with her five children (see page 53). The latter still makes a lively, modern impression thanks to its light coloring and loose brushstrokes, as well as the almost nonchalant poses and arrangement of its figures. This approach did not suit the Boissev-ains, however, who asked Schwartze to produce a more classical portrait. The result thus makes a more old-fashioned impression, with its darker colors, precise draftsmanship, and conservative composition. Here Schwartze quotes several renowned precursors: Velasquez in the girl who stands furthest to the left by the curtain, and Raphael in the angelic child resting her arms on the balustrade. Clearly Schwartze knew well the precedents of such forerunners as Titian, Rubens, van Dyck, Rembrandt, and Gainsborough, and could quote them when necessary.

Mozes de Vries van Buuren, 1903, oil on canvas,

39 x 32 in., Jewish Historical Museum, Amsterdam, on

loan from a private collection

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Fine Art Today Designed to reflect day-to-day activities in the Post-Contemporary art movement and the art community, Fine Art Today is a weekly e-mail newsletter that covers collecting, events, and trends in the art world as an extension of the magazine, allowing advertisers to highlight artworks, events, and shows. It is edited by Andrew Webster.

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Peter Trippi

Editor-In-Chief Peter Trippi is an art historian, curator,author, and former New York museum director. Under hisguidance, each issue combines the highest caliber of editorialcontent with rich imagery, making for a memorable readingexperience.

Each of our six annual issues focuses onoutstanding historicaland contemporaryrepresentational artwork — primarily American, European, and Russian paintings, sculpture,drawings, prints, and objets d’art. Fine Art Connoisseur has

carefully built a readership of quality art-buying collectors since it was established in 2006.

Each issue reaches an average of 75,000* loyal readers who arepassionate about discovering the �nest in representational art.

Why Collectors Embrace Fine Art Connoisseur

Editorial Content

Fine Art ConnoisseurEACH ISSUE OF

HIDDEN COLLECTIONS A look into private homes and clubs

containing important art rarely or never seen by the public.

TODAY’S MASTERSIn-depth articles about the most important

representational artists working now.

HISTORIC MASTERSWell-researched overviews of representational

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ARTISTS MAKING THEIR MARKOur editor highlights three contemporary

artists whose careers should be closely watched.

MY FAVORITE ARTWORKIn each issue, a well-known personality will reveal

why he or she loves a particular painting,sculpture, drawing or print. �e range of

items cited will surprise you.

THE FAIR GAME

occurring around the world.

COLLECTOR SAVVY ANDCOLLECTING & INVESTING

Commentaries by key art experts, providing useful information for collectors about building

and managing their holdings.

OFF THE WALLSA lively survey of auction results, museum and gallery exhibition openings, and other

art world milestones.

ONGOING FEATURES AND SECTIONS

AUCTION HIGHLIGHTIn each issue, a prominent auctioneer will tell us which artwork in an upcoming sale strikes him or her as the best bargain. A�er all, you

don’t necessarily have to spend a lot of money to acquire a great piece at auction.

features outstanding living representational artists, as well as historical representational artists from the Americas, Europe, Russia dating to the 18th, 19th, and 20th centuries. Our editorial content encompassespaintings, sculpture, drawings, and orints, and because collectors of these art forms also acquire in other areas, we frequently include articles focused on design or luxury goods.

In addition, each issue contains a pagehighlighting an upcoming auction or sale that readers should follow; these occurnationwide and at various types of venues.

Editorial Calendar

JANUARY/FEBRUARY 2016Space deadline: November 26, 2015

2nd Annual EditionDevoted to Collectors

Special edition:

MARCH/APRIL 2016Space deadline: February 5, 2016 Photo Essay: Windows Destination Art: Iowa

Photo Essay: Foods – table settings, still life, candy,meals, shops/groceries

MAY/JUNE 2016 Space deadline: March 25, 2016

Destination Art: Kentucky & Ohio River Valley

Photo Essay: Tromp l’oeil – including hyperrealismand murals

JULY/AUGUST 2016Space deadline: May 27, 2016

Destination Art: Vermont and New Hampshire& Massachusetts

Photo Essay: Animals – to coincide with AFC festival in Vancouver every September

Destination Art: Idaho

SEPTEMBER/OCTOBER 2016Space deadline: July 29, 2016

Photo Essay: ChildrenDestination Art: North Carolina, South Carolina

& Virginia

NOVEMBER/DECEMBER 2016Space deadline: September 30, 2016

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