“You really need faith in yourself to make art and to stand up for what you believe in.” — Elizabeth Peyton
ELIZABETH PEYTON (B. 1965) Jude Law as Lord Alfred Douglas titled and dated ‘Jude Law as Lord Alfred Douglas 27.11.98’ (on the reverse) watercolor on paper 29 ¾ x 22 in. (75.6 x 55.9 cm.) Painted in 1998. Price realised USD 187,500
“My painting is not violent, it’s life that is violent. Even within the most beautiful landscape, in the trees, under the leaves, the insects are eating each other; violence is a part of life. We are born with a scream; we come into life with a scream and maybe love is a mosquito net between the fear of living and the fear of death.”
Francis Bacon Study for Portrait 1977 oil and dry transfer lettering on canvas 78 x 58 1/8 in. Price realised USD 49,812,500
If a painting is created mainly to match a luxurious interior rather than to express something deeply personal or challenge ideas, then it leans more toward decorative art, even if it’s technically a painting. It becomes part of the decor rather than a standalone statement.
That raises an interesting question—does the intent of the artist or the way the artwork is used define whether it’s fine art or decorative art? If someone paints with raw emotion and meaning but it ends up as a luxury wall piece, does that change what it is?
Especially with modern abstract painting—it’s everywhere in high-end homes, hotels, and corporate spaces. A lot of it seems designed to be aesthetically pleasing but not too thought-provoking, so it blends into the environment rather than demanding attention. It feels like abstraction has been commercialized into a luxury good rather than a form of deep expression, at least in many cases.
Of course, that doesn’t mean all abstract art today is purely decorative. There are still artists pushing boundaries and using abstraction in meaningful ways. But a lot of what sells seems to be more about fitting a vibe than saying something.
“I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.”
Gerhard Richter (b. 1932) Zwei Liebespaare signed, titled and dated ’“Zwei Liebespaare” Richter 66’ (on the reverse) oil on canvas 45¼ x 63in. (115 x 160cm.) Painted in 1966 Price realised GBP 7,300,500
