Expressionism
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Fine vs Decorative Art
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.
By ChatGPT
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“Where there is no shadow, there is no light.”
Michelangelo Merisi da Caravaggio (1571-1610)
The Taking of Christ
1602
oil on canvas
133.5 cm × 169.5 cm (52.6 in × 66.7 in)
National Gallery of Ireland
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“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
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“You are a light. You are the light. Never let anyone — any person or any force — dampen, dim or diminish your light … Release the need to hate, to harbor division, and the enticement of revenge. Release all bitterness. Hold only love, only peace in your heart, knowing that the battle of good to overcome evil is already won.” — John Lewis
John Lewis
2020
Watercolor on paper
12 x 9 in
Price: Not for Sale
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Bischoff, who in 1976 told Paul Karlstrom: “I’m still supporting myself by teaching,” had only two one man shows before his first New York show at Staempfli Gallery in 1960, including a 1955 show at the Paul Kantor Gallery in Los Angeles from which nothing sold. In contrast, leading artists in New York benefitted from a booming art market. For example, Willem de Kooning’s 1959 New York show sold out on the first day, bringing in about $150,000 (about $1.2 million dollars today, when adjusted for inflation).
Of course, de Kooning was a sensation, but many other New York artists sold well while California artists struggled. In this situation, decently paying teaching jobs were a rare and precious commodity. When it was rumored in 1955 that David Park had been offered $10,000 per year to teach at UC Berkeley, artist Nathan Oliveira – who at the time was earning $2.50 per hour teaching art 18 hours per week – thought that Park had been given “the opportunity of a lifetime.” As it turns out, Park’s actual starting annual salary was $5,300.00.
Elmer Bischoff
Orange Sweater
1955
Oil on canvas
48 ½ in. x 57 in.
SFMoMA collections
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“Unlike the artists behind many of Shaw’s thrift-store paintings, the “bad painters” of art history were often technically skilled. They made a conscious decision to ignore the standards of good taste and good style, which wasn’t always intuitive.”
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“What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they really care about, is the abstract qualities of life.”
Marlene Dumas (b. 1953)
The White Disease
signed, titled and dated ‘The White disease Marlene Dumas 1985’ (on the reverse)
oil on canvas
51 3/8 x 43½ in. (130.5 x 110.5 cm.)
Painted in 1985.
Price realised
USD 998,500