Why Is There No Great Art Anymore?
Spoiler: there is...
Where is our modern-day Michelangelo? Why don’t we make great art anymore?
For some, the answer is simple: “we don’t know how to do it”. Others provide more complex answers regarding financial incentives, new technological landscapes, and the absence of patronal proclivities in ruling elite. Most, however, simply complain.
But while it is easy (and often financially lucrative) to complain about how great the past was and how much the present sucks, we at The Culturist have decided to actually do something about it. We’ve decided to become patrons ourselves.
We’re incredibly excited to reveal a project we’ve been working on for several months, and which is currently underway in the very heart of Renaissance Italy. It is the beginning of our much larger vision to help revitalize the arts and shine a light on those who are stewarding the flame of the Great Tradition.
Are you ready for the New Renaissance? If so, read on to learn about our quest, and how you can join us on the adventure…
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The Quest Begins
As digital creators, we’re constantly exposed to online discourse regarding art and beauty — or better yet, the lack thereof. Refrains like “the West has fallen!” frequently come up on our timelines, but hardly ever do you hear stories about the people still fighting for the good, true, and beautiful.
Since many of our articles place a strong emphasis on the power of beauty, eventually we felt compelled to ask ourselves: what are we doing apart from just writing about this? What can we do concretely to bring more beauty into the world?
These questions prompted our quest to seek out the best up-and-coming artistic talent, and to support them in the development of their craft. Building relationships with everyone from French sculptors to Russian fresco painters, our co-founder Evan Amato leveraged his position in Europe to scour the continent for the best creators and craftsmen. He discovered many promising artists, but one in particular stood out from the crowd.
That young man, Carl-Nikolas von Tiedemann, is a 25-year-old classical painter based in Florence. Following a call to the arts, he left his native Germany after high school to pursue his vocation. It was a dramatic gamble, as leaving home meant abandoning any hope of a safe and steady career path.
But the gamble paid off. Accepted into the prestigious Florence Academy of Art, he not only earned his diploma but soon became a principal instructor at the academy. Now, following his conversion to Catholicism, he has shifted his focus to the creation of sacred art.
Earlier this year, Evan connected with Carl-Nikolas, whereupon the two decided to embark on an ambitious project: a life-sized portrait of St. Catherine of Siena; von Tiedemann’s largest commission to date.
The Mission
But what is the point of this project? How much of an impact can one painting really have? What do we hope to achieve through this commission?
Quite a lot, actually. First and foremost, we want to shed light on the fact that there are still people stewarding the flame of the Great Tradition. The thing is, you just don’t usually hear about them, since the skillset required to be a great artist isn’t often the same as that required to grow an online audience. Amidst the lamentations of “we don’t know how to do it anymore”, it is more important than ever to highlight the people who are making great art, and thus making a difference.
Second, we want to focus on the power of art to point to the divine. Upcoming articles on this publication, as well as on The Ascent, Letters from the Old World, and INVICTUS, will break down why it is that classical art points you to a higher reality. They’ll also explore the life and spirituality of St. Catherine — one of the greatest women of the Middle Ages, yet also one of the most misunderstood — and why she is such a critical figure to look to for guidance in our chaotic modern world.
Third, we aim to shed light on the importance and role of patronage in the modern day. Even though being a “patron” sounds like something reserved for the ultra-wealthy, the truth is that it’s never been easier to become one. It’s also never been more critical that you do so.
Whether at a grand regional scale or a modest local one, we hope to inspire you with the possibilities of what patronage can entail. Contrary to popular belief, patronage doesn’t mean giving handouts to starving and ungrateful artists. Rather, it can still be used to build relationships and exert power: the influence of the Medici, in other words, has never quite disappeared.
Lastly, we hope to throw gasoline on the metaphorical fire of Carl-Nikolas’s career, helping him get the attention he absolutely deserves. It is rare, especially these days, that an artist exhibits such exceptional talent at such a young age. Since we are in a position to highlight it, we can’t help but do so.
Carl-Nikolas has a dream of one day establishing an academy of sacred art in Rome, and we want to help make that vision a reality. If you are in any way able to support his work — whether by commissioning a painting, or simply by making an introduction — reply to this email or reach out to Evan directly, and he will put you in touch.
What’s Next
Over the upcoming weeks and months, we’ll share updates documenting the progress of Saint Catherine’s portrait: both how it’s made, and what it reveals about the power of great art to transform our modern world. We’ll also share insider advice on how to find talent worth supporting, how to leverage the system of patronage to your advantage, and how you can make a difference on even the most local of levels.
The responsibility of passing down the Great Tradition, after all, doesn’t fall to others: it falls to you. The good news is, you can make a far bigger difference than you realize. This project, for example, wouldn’t be possible without the support of our paid readers.
In late July, Evan will travel to Florence to visit Carl-Nikolas’s workshop in person, and the two will then journey to visit Saint Catherine’s home in Siena. That trip will be documented in future articles, as will the spectacular debut of the painting later this fall. We can’t share yet where it’ll first appear, but it won’t disappoint!
Of course, we highly recommend you follow Carl-Nikolas on Instagram so you can track his progress in real time. You can also learn more about him and browse his past work on his website.
Lastly, we want to thank YOU for your support of all we do here at The Culturist. This project would not be possible without our incredible readers, and we are deeply grateful for the community we have here.
The time for the New Renaissance is now. The only question is: what part will you play in it?
As an artist I think it’s so interesting how if you’re in the scene it’s very obvious that there are so many Michelangelo level talents alive now and creating. The museums just have 0 interest in them.
As a working artist trained in the classical method, I can attest to the importance of patrons in supporting the production of quality art upholding traditional aesthetics. People have no idea how much training, materials, studio space and time go into paintings of this type. Kudos to you, Evan Amato, for recognizing to need support artists called to this vocation! For those who do not have an affinity for classic style art, there are many other options to consume. Criticizing an obviously talented artist and a supportive patron (as some commenters have done) is akin to telling a lute player they are not entitled to pursue their art just because you prefer the banjo.