Page 44 - AARF 2019-2020

The historic significance of the more deeply, when taste and value
place had much to do with his merge.
involvement with coming to know Neither regionalism nor realism
Florida art: “My research about was central to the art world when,
the property led to a study of in 1972, Jim and Anne opened
the history of Florida, which led the Kissimmee Valley Gallery
to Henry Flagler and his role in in Sebring. The gallery was a
funding and founding statement about the
Florida’s historic art couple’s belief in
tradition.” Flagler’s Florida. Jim’s course
story, about how the was set, and, all in all,
oil magnate came to he has and continues
St. Augustine and that to be an advocate
his grand Ponce de for Florida art and
Leon Hotel had artists’ artists. Furthermore,
studios into which he Jim unabashedly
brought established worked “to legitimize
American landscapists, art as commodity.”
was the impetus that This is perhaps more
sparked Jim’s interest palpable a reality today
in Florida art. compared to when Jim
But it was, more Jim’s book, Living and Anne got started,
clearly, Florida Dogs and Dead Lions, when modernist thought
artists that caught is a short no-holds- suggested that art
Jim’s imagination barred look at the speaks for itself and
while defining his economic side of art. that the artist was above
understanding of art’s worldly concerns. Of
worth and course, this
meaning. has never
For Jim, been reality,
art’s worth is which is
based upon clearly the
monetary case with the
values as resurgent
much as its interest in the
aesthetic Highwaymen.
values. It In 1994,
might be Jim named
stepping a then
too far out nameless
onto a limb Harold Newton cohort of
to say that, to painters “The
him, aesthetic Highwaymen;”
appreciation is predicated by the this unleashed a cultural
marketplace; taste is learned but phenomenon. On no uncertain
adding financial value to artwork terms, art and commerce were
somehow makes it look more inextricably linked from the start.
interesting. At least people will The artists’ biographies, their
look at artworks differently, if not social positions and narratives of

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