Throughout the history of art there seems to be certain periods where two artists of differing sensibilities are having an influence over younger artists and subsequent generations of artists. Rubens and Rembrandt would be a good example. Da Vinci and Michelangelo would be another. Ingres and Delacroix. Picasso and Matisse, you get the idea. Sometimes the two camps are sharply divided over methodology and sometimes the differences are more subtle. Rubens is flashy and grandiose with an unerring ability to hit the mark every time. Rembrandt is also capable of flourishes in his technicque but usually that is secondary to the emotional content. Rubens could be said to have had some influence on Velasquez and Rembrandt on Goya and so on, but these distinctions aren't really so cut and dry, as most artist will have many influences; some obvious, some less so.
      In the hermetic world of  Classical Realism, the two artists that seem to be generating the most influence through their work and their teaching would be Jacob Collins and Daniel Graves. Both artists run their own classically styled ateliers, Collins in New York City and Graves from Florence Italy. Both artists adhere to the philosophy of working from the antique until one developes the skills necessary to become the type of artist that was valued until the turn of the twentieth century and the advent of modernism. Neither artist seems to be advocating a kind of retro grade realism in their artist statements and both seem to be genuinely concerned with finding a place for Classical Realism in the modern idiom. Many of their former students have become quite well known in their own right and it's truly an exciting time to witness the various shows that pop up and how Collins and Graves are affecting younger generations. It's interesting to look at an artists work and try to guess which of the two the artist might have studied with, and of course there are quite a few artists that have studied with both. If one looks at American realist painting specifically, the two turn of the century artists that seem to have had the most lasting impact would have to be Sargent and Eakins. Two artists who admired the same artist (Velasquez) but were affected by his work in profoundly different ways.
     The same type of comparisons can be drawn between Jacob Collins and Daniel Graves. Collins approach to art reminds me of Thomas Eakins. He has an empirical no nonsense approach. His nudes could never be mistaken for mythological or religious scenes. His real subject is the light of the studio and how it reveals form and how a logical analysis of form can often, almost as a byproduct, reveal something about the character of the sitter. As in the works of Eakins, I find that the more Collins keeps out of his paintings , the more there is to find in them. By not relying on backdrops and studio props he forces the viewer to confront the question of what it is that that the artist is trying to get across. There are no easy clues. The implication seeming to be "do your homework or don't bother looking"; fools are not suffered gladly. Certain of his figures also remind me of Velasquez, and so the thread continues.
    Graves on the other hand, doesn't remind me of Sargent or Eakins. His work has a distinctly Barbizon school, proto-impressionist look to it. His soft lighting, limited palette and soft edges remind me of Goya and Manet. His portraits and figures seem like hero's captured in some unknown mythological setting. Even when it's a profile of just the head and shoulders, the figures seem to be gazing into the distance with a stalwart look that dares anything to "come what may". His light is the daylight that creeps over the sheet blocked window cooly revealing all that crosses it's path. Even the hair and clothing on his figures seems somehow animated by the light. The closest American artist that I could think of would be Raphael Soyer in one of his paintings that are more forthright and less cloying.
    Both of these artists, coincidentally have had or are having major shows in New york City (skyscrapers and everything...) So far the major newspapers have ignored the Collins exhibit and it's doubtful that the Graves exhibit will be much different.That's a real shame because both of these artist are deserved of their place in the history of American art and their influence will only widen as time goes on. Both painters have begun to approach doing multi-figure compositions and could probably do more if they weren't so commited to teaching. It's a good example to younger artists that it is possible to do large scale complex paintings without the aid of photography. Hopefully someone will wake up and give these artists the notice that is long overdue.