Art in Coma: Postmodernism, Envy, and the Fear of Beauty”

Author - Brian Hawkeswood.

You’re absolutely right to suggest that it is not genius or ability that is missing from the contemporary world, but rather a cultural framework that no longer knows how to recognize or honour it. The art world, especially its institutional and commercial wings, has become profoundly suspicious of beauty, mastery, and sincerity—qualities that were central to the work of Titian, Raphael, Manet, or Corot. Instead, it elevates a narrow vision of conceptualism—art that is often sterile, ironic, and emotionally hollow. The result is a kind of spiritual flattening, where true artistic greatness is either ignored or derided.

"The murder of Andreas Baader, 1977-78. Oil on canvas, 330 x 270 cm Odd Nerdrum.

There are, however, artists alive today who demonstrate the same kind of technical virtuosity and emotional depth that defined the Renaissance and the 19th century. They are often working outside the spotlight, in resistance to the mainstream art world, or within small enclaves that still value the rigorous cultivation of skill and soul.

Odd Nerdrum, as previously mentioned, is one of the most important figures in this counter-movement. His work directly invokes the lineage of Rembrandt, Titian, and Caravaggio—not as pastiche, but as a continuation of a sacred tradition of painting. In works such as Twilight, Refugees at Sea, or Man Lifting Woman, Nerdrum fuses technical mastery with mythic, timeless subject matter. The flesh in his paintings glows with the same inner light that makes Titian’s portraits immortal; the faces carry the same weight of mystery and mortality that fills Rembrandt’s late self-portraits. Yet he is almost completely excluded from major museum exhibitions or biennales.

Another worthy example is Steven Assael, a New York-based painter whose figurative works are staggering in their technical brilliance. In paintings such as Erika with Red Ribbon or Untitled (Seated Girl), Assael achieves a level of anatomical precision, psychological insight, and sensual immediacy that echoes the best of Ingres or Manet. The brushwork is subtle, skin tones pulse with life, and every gesture is infused with dignity and presence. Yet you will rarely, if ever, find his work in the global mega-exhibitions that define the cultural conversation. Why? Because his work is too sincere, too beautiful, too untouched by the mandated detachment of postmodernism.

“Preparation of the Bride”, Steven Assael 1994, oil on canvas

Juliette Aristides, founder of the Aristides Atelier in Seattle, has also dedicated her life to reviving classical techniques in painting and drawing. Her book Lessons in Classical Drawing is now a manual for young artists who seek a path away from irony and into craft. Her own work—such as Still Life with Shells or her luminous figure studies—shows a reverence for light, balance, and form that connects her to the great still life painters of the Dutch Golden Age and to Corot’s gentle lyricism. Yet she remains on the periphery of the mainstream conversation.

                                                     Juliette Aristides, “untitled”.

Then there’s Roberto Ferri, an Italian painter openly inspired by Caravaggio, whose work bridges baroque drama with contemporary surrealism. Ferri’s paintings—like Eurydice or Sogno Romano—combine eroticism, transcendence, and torment in a way that recalls the ecstatic physicality of Bernini or Titian’s mythological scenes. His mastery of oil technique is indisputable. Still, he is often labeled “kitsch” by contemporary critics, as if technical excellence and beauty were now vulgar traits.

Roberto Ferri. Sogno Romano, 2020.

We must ask: what kind of culture turns away from its own highest possibilities? The postmodern fixation on the trivial, the ugly, and the conceptually overdetermined has created a climate where sincerity is taboo, where beauty is confused with elitism, and where genuine artistic ambition is viewed with suspicion. Even worse, this sensibility has trickled down into art education, where children are rarely taught how to draw, how to see, how to render light and form. Instead, they are encouraged to “express” before they have learned to perceive. In this way, the phrase “a child could do that” not only indicts the art but subtly debases children themselves—who are, in fact, capable of extraordinary artistic achievement when properly guided.

What we’re seeing, then, is not an absence of great artists—but an absence of cultural seriousness. A refusal to allow greatness its proper place. We are like a society that has forgotten how to read music, insisting that noise is all there ever was. But the symphony still exists. There are still Titians among us. We have simply stopped listening for them.

The Aesthetics of Paralysis: On Postmodern Stagnation and the Culture of Envy

In the contemporary art world, a pervasive sense of stagnation has taken hold. The once-vibrant pursuit of beauty, mastery, and transcendence has been supplanted by a fixation on postmodern conceptualism—often characterized by irony, detachment, and a deliberate eschewal of technical skill. This shift has led to a cultural environment where genuine artistic excellence is marginalized, and the phrase “a child could do that” becomes a common, albeit misguided, critique.

Yet, contrary to the prevailing narrative, artists of exceptional talent and vision continue to emerge. Their works resonate with the depth and craftsmanship reminiscent of masters like Titian, Raphael, Manet, and Corot. However, these contemporary virtuosos often find themselves sidelined by institutions that prioritize conceptual novelty over aesthetic and technical prowess.

Odd Nerdrum, a Norwegian painter, stands as a testament to this phenomenon. Rejecting the conventions of modern art, Nerdrum aligns himself with the traditions of the Old Masters. His paintings, such as Refugees at Sea and Twilight, evoke the chiaroscuro of Rembrandt and the emotive depth of Caravaggio. Despite his mastery, Nerdrum’s commitment to classical techniques and themes has led to his marginalization within the contemporary art scene. 

Similarly, Steven Assael, an American artist, brings a profound psychological insight to his figurative works. His portraits, like Passengers and Erika with Red Ribbon, showcase a meticulous attention to detail and a deep understanding of human emotion. Assael’s dedication to realism and the human form places him in the lineage of artists like Manet, yet his work receives limited recognition from mainstream art institutions.

Juliette Aristides, a leading figure in the classical realism movement, emphasizes the importance of traditional techniques in art education. Through her teachings and works, such as those featured in Classical Painting Atelier, Aristides advocates for a return to the disciplined study of form, light, and composition. Her efforts aim to revive the appreciation for skill and beauty in art, challenging the dominance of conceptualism. 

Italian painter Roberto Ferri draws inspiration from Baroque masters, particularly Caravaggio. His works, including Eurydice and Sogno Romano, blend classical techniques with contemporary themes, resulting in compositions that are both timeless and innovative. Ferri’s art, characterized by its dramatic lighting and anatomical precision, offers a counter-narrative to the prevailing trends in contemporary art. 

The marginalization of these artists reflects a broader cultural reluctance to embrace works that prioritize beauty, skill, and emotional resonance. In an era where art is often valued for its conceptual audacity rather than its aesthetic qualities, the contributions of artists like Nerdrum, Assael, Aristides, and Ferri serve as reminders of the enduring power of traditional artistry.

To revitalize the art world, there must be a renewed appreciation for the principles that have historically defined great art. By acknowledging and supporting artists who uphold these traditions, we can foster a more inclusive and enriching artistic landscape—one that values both innovation and mastery.

In conclusion, the presence of contemporary artists who match the caliber of Renaissance and 19th-century masters challenges the notion that such excellence is a relic of the past. Their work underscores the need for a cultural shift that recognizes and celebrates the full spectrum of artistic expression, bridging the gap between tradition and modernity.