Aaron Holland Fine Arts

Dear Aaron,
Upon reflection, I've taken the time to research some
of your latest. The so-called line of lineage between the Old Masters,
and us. Here's what I got:
David (pictured above)studied under some relatively modest academic painter,
whose name eludes me [Boucher](pictured below).

Then, Rococo was the rage.

In time, despite his early enthusiasm for that, he diverged pronouncedly from the
ideas envogue, returning to the classical ideal. He studied next with an artist named Joseph-Marie Vien

He, in fact, came to
regard Rococo as decadent. After three consecutive failures to obtain
the Prix di Rome (after which he reputedly considered quiting art),
he finally won it!! In the 'Eternal City' he reformulated his prior ideas
becoming a classicist. In time he returned to Paris, and became the
King's first painter, in so doing, became the director of the Ecole, the
institution he'd grown to loathe. His new style became Neoclassicism.
Eventually one of the brilliant artists who came out of his influence
was Gerome.

He was also the instructor of two great American painters,
Bunker,

and Paxton.

Paxton also studied with Bunker briefly in Boston
at the Cowles School, and consequently with Gerome in Paris. In his
mid-thirties, after having opted out of Paxton's Antique Class at the
Museum School, Gammell finally fell under his influence.
This is reputedly where the Boston School theories arise . Now, I
personally allow for the additions and subtractions of ideas in trans-
missions from one to the next, but hopefully the nexus of their ideas
remain intact.
Yours Truly,
Freiwald Loewy