Art Term Tuesday: Old Masters

Katy Thompson, Associate Director of Education

If you’ve ever taken an art history course, or read a label in an art museum, you’ve probably come across the term “Old Masters”. When considering master painters and sculptors, what name(s) pop into your head? It’s probably the ones that, even if you haven’t thought of art in years, everyone knows: Rembrandt, Leonardo da Vinci, Michelangelo, Raphael, Titian, Dürer, or Caravaggio. What makes these predominantly white, male painters and sculptors the masters of their crafts? Nothing more than the years in which they worked.

A catchall, “Old Masters” is an informal designation referring to any painter of skill who worked in Europe before 1800. Neither a specific art historical style nor artistic movement, it encompasses the seminal figures of both genders in the Western canon, from Gothic art to Romanticism. Other derivatives of the term include “Old Master Print” and “Old Master Drawing” to recognize original prints and drawings made by the artists within the period. These preeminent artists were fully trained masters of their local artists’ guilds and worked independently in practice; in reality, paintings were often produced by pupils or workshops (see: Studio of Rembrandt). Therefore, the date is the measure for the designation, rather than the quality of the work. Regardless of who receives the distinction, these works are recognized for their composition, technique, and mastery of craft.

In the 18th and 19th centuries the term was understood as recognizing works after 1450; paintings before that date were relegated as “primitives”. This distinction, however, is no longer made. In fact, many art museums have moved away from the term altogether as its vagueness, especially in relation to paintings, makes it an unusable distinction. Where the term “Old Master” truly flourishes is in the art trade. Auction houses often divide their sales between, for example, “Old Master Paintings”, “19th Century Paintings”, and “Contemporary/Modern Paintings”. This broad category allows houses like Christie’s and Sotheby’s to quickly organize collections for sale, whether the artworks for purchase are originals or reproductions.

The reproduction of Old Masters is a time-honored tradition. A teaching tool, copying these works helps develop observation, focus, muscle memory, and patience while simultaneously allowing the artist to explore new techniques. A method to train your hand and eye, copying can bring forth an artists personal style by analyzing the choices of another artist and if they agree or disagree. When a teaching tool, the goal isn’t necessarily a perfect reproduction; but, for some artists who make their career as copyists, it is. Many aspiring artists use(d) the sale of copied masterworks to finance their formal training, study abroad program, or materials for their own work. Celebrated Hoosier Impressionist T.C. Steele sold copies of master paintings to finance his study abroad. Compare his work by following the link with Master Painter Peter Paul Rubens’ artwork below:

Gabriela Gonzalez Dellosso, whose retrospective is currently on display at FWMoA, integrates the legacies of undervalued female artists into self-portraits in her Homage series to bring attention to their role in the art historical canon. Compare and contrast the original work by Judith Leyster with Gabriela’s interpretation. What aspects of composition, style, color, and atmosphere does she keep? What does she make her own?

Investigate more of Dellosso‘s responses to master works in her exhibition at FWMoA through July 14th.