That's the thing - 1. It's a lot easier (and more profitable) for an art school to pump out students who are another Pollock or Warhol, than it is to create the next Mucha or Lawrence Alma-Tadema and 2. It's also a lot quicker (and, once again, more profitable) for the art world to regularly and consistently churn out trashed beds, glasses of water on shelves that are "conceptually" "oak trees," and "figurative paintings" that look like they were executed by a 5 year old on a sugar high, than it is to patiently wait for the oil painting and the Bernini-esque sculpture masterpieces of old, that would take literal years to complete.
Don't get me started on Rothko's glorified first year art student color swatch exercises blown up to be the size of walls. One of the most laughably cringey moments I remember, is when I saw part of this documentary on Rothko (been so many years I forget the name and channel.) The camera was zooming in slowly on one of his two color swatch works, while playing ominous ambient music (think the psychedelic light tunnel scene from near the end of 2001: A Space Odyssey) and intercutting with flashes of scenes from World War II, the Civil Rights Movement, and other clichéd "dramatic moments in history." The producers/editors were blatantly trying to manipulate the viewer into thinking that two gigantic color swatches could evoke all these "deep" and "complex" emotions.
I can't comment on any particular demonic experiences in the art school I went to. Most of my time there I was an apostate, and did not return to Christianity until around my final year or two there, give or take. Nevertheless, I do have my fair share of horror stories about students and teachers being clearly unhinged and disturbed, along with unpleasant encounters with those who took issue with my conservative stance. Conflict would also arise from my merely politely but firmly disagreeing with something completely apolitical, or simply "offended" their liberal sensibilities without even trying.
I remember, in particular, being in a critique in which we were showing the progress of our thematic series assignments. In one of my pieces in progress, I had drawn a nude woman as a placeholder. Just a normal nude woman standing: no provocative lust inspiring pose or anything tasteless whatsoever. I explained to the teacher my reasoning, and she laughed and rejected my explaination in a smug and condescending manner. She then went up close to it and said, to the best of my recollection: "You know, when I'm in a gallery, I don't have to look at the label next to a painting for the artist's name to tell if it was done by a guy or not." She then turned to me and furiously began raising her voice to almost yelling levels while screeching "This looks like it was done BY A GUUUUY!!!!!!" The look on her face was as if I had raped her daughter by drawing that female nude.
In a similar vein, during my last semester, my teacher at the time took issue with a classy nude piece I did due to supposedly a male drawing a nude female in the "MeToo" era. Meanwhile, a female student in my graduating class had an exhibit inundated with blatantly objectifying and pornographic imagery (including literal bondage porn) without a peep of protest. I fought tooth and nail to get my piece into my senior show, and said teacher proceeded to try to gaslight and passive-aggressively sabotage me. Still got in, still graduated and got out with my sanity intact (barely.)
I could go on about both student and teacher behavior. The bottom line is that if there was demonic influence in that art school, I would not be surprised (the front entrance had a bunch of propaganda for a new gay pride center on the walls for awhile.)
Have not heard of him. Will have to do research.
A man of taste I see!
^^^^A thousand times this. It's a tricky balance I have yet to master.
I can tell right away your penchant for naturalist painting (as opposed to sacred art like iconography) is bit more on the romantic side than mine—Mucha and Alma-Tadema being more “art nouveau” than my own interests from that same period, which would probably put me in the semi-journalistic “Ashcan School” of painters. John Singer Sargent and those who came a bit later (but in the same vein).
Thing is, what really I dreamt about doing as an artist way back in high school was being something like Boris Vallejo—I loved that comic-book “reflected light” he’d put on his photorealistic figures, and I figured if I could get done just one painting like that to my name then my years suffering through high school scholastics (which I stunk at, and only bothered with to get into art school) would have been worthwhile.
Only it seems I then did something a little unpopular, art school wise, the year before I enrolled. Namely, I joined the Marines and became a reservist.
I did it partly for the GI Bill, partly to get out of my parents’ basement—partly because I was a skinny teen who wanted to bulk-out like Sly Stallone. I had also gotten dumped by my first real girlfriend during my senior year of high school, and so I was fighting a depression on top of everything else.
Nobody at art school cared about that. I was now an “imperialist”.
And I could not get a date at that place to save my life—not with any of the girls I actually wanted dates with. Instead, I got dates with fat chicks who shaved the sides of their head and insisted “makeup’s bad because it’s tested on animals” (platonic dates—I wasn’t interested in getting whatever their other boyfriends had—just someone to see a movie with).
But it was still the 1980’s. So I had a pretty good photorealism paint class, and another pretty good life drawing class—learned about Theodore Gericault and Diego Velazquez.
But then came that “modern art history” class. What a 4-month long stint in a sewer—and taught by a boomer Jew who had spent his own youth in Greenwich Village, so he know all the cultural marxist lingo that supposedly proves Mark Rothko was God’s gift to 20th century art—and the expectation was all his students would then speak that way.
I got through with a “C”. I had stopped him in the middle of his diatribe on day and said, “For the life of me I can’t see how ‘cubism’ had any effect whatsoever on movies, advertising, design, or anything equally memorable in 20th century visual art—how it was anything more than a gimmick that lived only in galleries, and once the fad died nobody went back to it.” His response was, “You know what your problem is? You’re too detached”—and then he just kept on talking.
Well, when I got through with a year at that place I was psychologically messed-up. Badly. I wound up returning to my high school job, which was a “chicken cook” for Roy Roger’s restaurants. About 2 years later I enrolled in the local state university hoping to finish up there—and I did finally meet normal heterosexual college kids who, however liberal, would at least marry each other and have kids—but internally I was a wreck, and so I just dropped out again without graduating.
Tried seeing a shrink. Another fine specimen of the kosher variety. Didn’t work. Stelazine did nothing for me. I told the guy straight out, “This is like taking 2 shots of whiskey each day—I can do that on my own.” He then informed me it was my body and I could do “whatever the hell I want with it”.
After that you get into my lengthy personal history where me and my bipolar agnostic father don’t see eye-to-eye, and I wind kicked out of the house and doing more Roy Rogers level jobs to survive. And I can’t blame art school for that, as it’s just the family I was born into.
On the upside, I did wind up doing some illustrations for my father, as he then started doing things online that merited artworks—this is now early and mid 1990s stuff. Then later wound-up caring for both my parents until they died—father from emphysema, mother from Alzheimer’s.
And so now it feels very much as though I’m right back in that former period of my life—late 1980’s, early 1990’s. Granted, I’m not in the Marines anymore, not having nightmares each night and considering putting an M-16 in my mouth, but as far as where I’m at with my art, yes, it is as though I’m waking up after a 30-year coma and like, “Looks like it’s time to paint once again.”
And I have no idea what’s it’s going to feel like if I put my paintings up for consignment in any of the local galleries around here. I think they’re just about all run by liberal women, and they all have the “WE STAND WITH BLACK LIVES MATTER” signs in the windows.
Thing is, if they’re actually trying to sell artworks, then I think I can make a case for what I’m doing. Namely, people will pay me for my realistic portraits and other imageries. There’s no BS’ing anyone—no need to talk someone’s ear off about how my “dada installation” is going to save the environment and fight racism.
The rest of it feels like I’m in a science fiction story. Our culture’s basically falling apart in big chunks, yet here I am in my 50’s trying to keep a refined art form alive.
It was something I saw my mother do when I was a boy. I was about 7, and she took this nighttime painting class where she had to do one “oil painting still life” for homework. And so in our kitchen she set up this bowl of wax fruit on a red and white striped tablecloth, and over the course of about 3 months she painted it—almost getting the perspective right.
That’s over 40 years ago, and I’m still using her easel.