Philosophy


It is perhaps tempting to believe that the significant works of art have all been found; that the inventories of our national museums are already set-in-stone. Yet each year, these institutions make great efforts to acquire new works for their collections. Scholarship is also on the move. Botticelli, El Greco and Vermeer were all forgotten masters,  before catching the attention of influential critics and collectors.

Few artists can expect a similar revival, but I believe the long road from ‘forgotten master’ to ‘museum acquisition’ is best begun in small, practical steps. Most of us recognise a good picture when we see it in a museum or a gallery, but how will it appear when it surfaces in an unlikely place? Small details such as framing, lighting, conservation and photography can all combine to make masterpieces look ordinary; they can also mask the contributions of interesting and worthy artists.

Whilst conservation might rejuvenate the paintings themselves, research can repair the reputations behind them, revealing that forgotten artists were once highly-rated and close to the leading figures of their time.

I believe that artistic decline can be accidental, that talent is not always aligned with the right temperament, and that there may simply be more geniuses than we can recognise.  



Research


Though it is tempting to aggrandise the unremarkable sequence of events that bring a better understanding of an object’s history, provenance research can be straightforward, and in my experience it is often quickly apparent whether something is researchable or not.

But protracted discoveries are also possible. New materials will surface to further our understanding of artists and periods. But when researching a painting it often seems that slowest route between two points is in a straight-line, and the details that solve difficult cases will often come to us unexpectedly - even accidentally, when pursuing a different project.

Dealers are generally well placed to keep an eye on art historical developments and have a generalist’s understanding that allows them to move quickly between styles and periods. Research is the best part of being an art dealer, but practice is always good and I am willing to hear and advise (where possible) on any projects you might have.  

 
 
 
 

Dominic Sanchez-Cabello