Most people assume there is such a thing as "taste" when it comes to art. They believe that some people are blessed (or cursed) with an innate ability to recognize great art. We have witnessed numerous collectors come to us with exactly this belief. At first, many are hesitant to admit their uncertainty; however, as the weeks turn into months and the months turn into years, these same collectors develop a solid sense of what moves them. And while it is rare for the journey to start with a specific theory of art, the journey starts with nothing more than looking at numerous paintings over a period of time. Like a palate develops only by trying a wide variety of foods before you can truly differentiate subtle variations, the eye develops by looking at an equally vast array of works of art before it can make a confident judgment.
The tendency is that early preferences are based upon the subject matter. For example, a collector likes a seascape because he loves the ocean, or a collector likes a portrait because it bears resemblance to someone close to him. While this is certainly a valid and reasonable initial preference, it is usually not where the developed collector ultimately lands. As the eye develops and matures, it begins to focus upon the manner in which things were painted rather than the subject matter. The question changes from what is depicted to how it is depicted. Collectors begin to pay attention to brushstrokes; the amount of confidence or hesitation in a painter’s gesture; whether color is layered versus applied in an unstructured manner; and finally, if a piece leans toward representation or pure abstraction. To move from being concerned about subject matter to being concerned with technique marks one of the largest advancements of a maturing eye.
Collectors also develop taste socially. While it would be easy to overlook this factor, it is important to acknowledge its existence. An individual's early preferences are greatly influenced by what they have grown up around. Family members, teachers, the visual environment within their homes during childhood all play roles in shaping an individual's early tastes. None of these factors constitute flaws; they merely represent the raw materials an individual uses to train their eye. Once taste is trained, it does not require individuals to abandon these initial influences. Instead, it requires them to expand their base of references and allow instinctual responses to become augmented by comparative evaluations. An individual who has only viewed a limited number of paintings will view everything in that context. An individual who has spent time viewing a wide variety of works across multiple mediums and historical styles will bring an exponentially larger number of reference points to bear on every new work they see.
We always suggest that collectors not only visit galleries, but also museums, artist studios, and whatever else they can find. Viewing a painting in its earliest stages can give viewers insight into the artistic decisions involved in creating the final product. This allows viewers to realize that each element of a completed work was carefully chosen by the artist, and therefore provides them with a more complete picture of the creative process. When combined with extensive exposure to various forms of painting and conversation regarding those works, this type of exposure trains collectors’ eyes to look for process as much as result.
Another critical aspect of training your eye is becoming comfortable sitting with uncomfortable feelings when viewing a work of art. Few collectors report discovering pieces they cherish without having to struggle through uncomfortable emotions initially. Most of the greatest pieces ask viewers to spend more time thinking about them then they wish to commit at first glance. A collector that only purchases works that appeal immediately will generally collect surface level works, rather than works of depth. Ultimately, the works of art that remain relevant in a homeowner's space long after purchase are frequently those works of art that didn't provide themselves completely upon first viewing.
An analogy exists between developing an eye for art and developing an eye for serious literature or listening to complex music. Serious literary or musical works are frequently difficult to appreciate initially due to their unconventional nature. However, once an individual commits enough time to understand and explore these works, they open-up considerably and often prove to be far more enjoyable than had they been appreciated easily at first sight. Paintings present a similar challenge for collectors. Developing patience for challenging moments is a key component of developing an eye for art.
A second point we'd like to make is that even as a collector's eye matures and becomes more refined and experienced, their eye remains malleable and continues to evolve. A painting that represented the pinnacle of importance five years prior may now appear less vital today; not because the painting itself has diminished in quality, but because the eye that views it has matured further. We believe this represents one of the unique rewards of collecting artwork throughout one's life rather than accumulating artwork quickly. The relationship between collector and collection evolves together.
Dialogue also plays a significant role in developing taste. People often underestimate this aspect of developing taste. Discussing different aspects of paintings with gallery owners, fellow collectors, and even artists themselves can expose collectors to a multitude of ways of seeing beyond what they could possibly discover on their own. Comments related to tonality or restraint in certain passages; comments related to the historical significance behind certain compositional choices; etc., can significantly alter a viewer's perception not only of that painting but of every painting thereafter. Taste is not built independently of others. Rather, it is built through dialogues among various types of observers over extended periods.
When speaking with novice collectors at West23, we strive to avoid providing them with established preferences regarding art. On paper, it would seem easier for us to provide novice collectors with established criteria for judging art and thus avoid their needlessly questioning themselves as they search for their own criteria. However, when collectors inherit established criteria for evaluating art and fail to test those criteria against their own sustained efforts at observing art, those collectors' appreciation for art feels superficial and short-lived.
Instead, we hope for a slower development process for collectors whereby their confidence in their own eye grows concurrently with increased exposure to additional art, conversations surrounding that art, and prolonged periods of time spent examining canvases without distraction while allowing the works to quietly influence their perceptions.
Finally, we feel it is also valuable to discuss mistakes as a fundamental yet underappreciated component of training the eye. Virtually every collector we've spoken to can recall a recent purchase they no longer take pride in, such as paintings purchased on a whim or fashion that have subsequently lost favor in their developing aesthetic preferences. While this represents an unfortunate reality for many collectors, we don’t believe it is something to regret. Rather, we believe that making errors helps collectors establish discernment. A collector who has never made an error in purchasing artwork has probably never challenged their eye with an actual decision that carries consequences, financial or otherwise. Mistakes typically help collectors reflect upon what moved them to acquire an artwork initially and whether that motivation holds-up under extended consideration.
Repeatedly reflecting upon this question will ultimately comprise much of what constitutes taste.
Further, we believe that developing a collector’s eye benefits from periodically removing oneself from viewing paintings exclusively. Spending time viewing sculpture, textiles, ceramics or other mediums and experiencing architectural environments and interior spaces can enhance collectors' senses of form and proportion relative to material qualities associated with each medium which can be fed back into collectors' experiences of painting. A collector who has spent time appreciating interior designs may have an enhanced awareness of how rooms are composed and how light interacts within defined interior spaces and therefore possess an enhanced spatial awareness when viewing paintings, recognizing relationships between elements within compositions and proportions with greater facility.
