An Article by D.M. (508 words, 3 min. read)
The Court of Art
“According to whether you are powerful or powerless, the judgments of the court will paint you white or black.”
— Jean de La Fontaine
A Different Court, the Same Judgment
La Fontaine wrote these words more than three hundred years ago, yet they still describe many parts of today’s art world. The court has simply changed its appearance. Kings have been replaced by galleries, auction houses, art fairs, dealers, and influential collectors. They have the power to decide who will be celebrated and who will be forgotten. Too often, an artist’s reputation depends less on the quality of the work than on the influence of the people promoting it.
When the Market Replaces Merit
Art should be judged for its creativity, originality, and emotional power. Increasingly, it is judged by its market value. A painting becomes an investment before it becomes an artwork. A signature becomes a brand. The conversation shifts from color, composition, and meaning to prices, records, and returns. Merit slowly gives way to commerce.
The Illusion of Success
Many artists dream of being represented by a prestigious gallery. For some, that dream comes true. Their first exhibition is a success. Prices rise quickly, collectors compete, and critics take notice. It feels like the beginning of a great career.
Yet this success is often short-lived. A few years later, the same works are stored in warehouses while the gallery turns its attention to the next promising name. In the art market, new discoveries often matter more than lasting commitment.
The Power of the Market
Auction houses also play a major role in shaping reputations. A single high sale can suddenly make an artist appear important. A disappointing result can have the opposite effect. Instead of reflecting artistic value, prices often begin to create it. The market starts telling people what to admire instead of responding to genuine appreciation.
The Cost of Recognition
Artists also pay a high price for visibility. Galleries often keep around half of every sale. In many cases, this happens even when the artist personally introduces the buyer. While galleries provide valuable services and support, this model can leave artists carrying most of the creative work while receiving only part of the financial reward.
Who Decides What Is Good?
Perhaps the greatest paradox is that a painting itself never changes. Its colors remain the same. Its composition remains the same. Its emotion remains the same. What changes is the opinion surrounding it. When the price rises, many suddenly discover a masterpiece. When the market loses interest, the same painting may receive little attention.
La Fontaine Was Still Right
La Fontaine was writing about justice, power, and human nature. His words extend far beyond his own century. In today’s art world, those with influence often shape reputations, careers, and even art history itself. The question is no longer only whether a work of art is good. It is also who has the power to decide that it is.
