The Elegant Salon: European Academic Paintings in the Syracuse University Art Collection
Syracuse University Lubin House
September 27 - November 5, 2004

The art world in the late 19th century was experiencing a radical transformation. Theories about fine art that were fundamental to the teachings of the École des Beaux-Arts in Paris or the Academy of Unified Fine Arts in Vienna were being challenged by avant-garde artists. These long established and conservative academies of art were especially vulnerable to changing attitudes about culture and new trends in art; but while their teachings and theories fell out of favor with many artists their art was enthusiastically acquired by museums, connoisseurs, and collectors, especially in America.

Domenic Iacono, Associate Director of the Art Collection, who also curated William Blake at Syracuse, Milton Avery Revisited, and Rembrandt the Consummate Etcher has selected thirty paintings made in the academic tradition by artists who were renowned throughout the European continent and in America. In fact, many were friends of royalty, well connected to the major art collectors of the day, and in some cases, household names. All the major trends of 19th century academic art, Realism, Orientalism, Barbizon, and others are represented by these artists.

The majority of works in the show are from the Annie Walter Arents Collection, which came to Syracuse University in 1949. Living in Manhattan, the Arents had easy access to European and American art, and numerous exhibitions that offered academic art. They were also prototypical collectors of the period; they had money, intellect, and a desire to surround themselves with cultural artifacts. While there is no direct evidence that any one dealer or curator helped assemble the collection it is evident that the Arents preferred traditional painting styles. Since the academies had their supporters in art circles, among curators, gallery owners, and especially among critics, it is possible that someone like Royal Cortissoz indirectly guided the Arents in their selections. He was the New York Tribune's voice on art issues and wrote extensively on developments in modern European and American art. As if writing a guide for collecting good paintings Cortissoz said they should have three attributes - "an idea, beauty, and an indication of sound craftsmanship." The paintings in this exhibition are wonderful examples of those qualities and much more that the academies had to offer their students, disciples, and the public at large.