ANTIQUES AND THE ARTS WEEKLY   April 14, 2006 

Louis Newman:  Bringing Artists to Light 

By Robert Metzger, PhD 

NEW YORK CITY — In today’s superheated art industry many dealers are obsessed with discovering, packaging, promoting, and profiting from the next superstar.  It is refreshing to find an art dealer who is not a slave to fashion, dependent on the vagaries of public taste. 

Louis Newman, Director of David Findlay Jr. Fine Art on 57th Street in New York, is such a dealer.  He is known for upgrading the reputations of worthy artists who have been neglected or half-forgotten by the public.  Specializing in American Modernism from the mid-twentieth century, Newman has rediscovered major talent from a peak period in American art, ferreting out paintings of intrinsic quality which have not been seen for a long time, if at all, by the gallery public. 

Originally from Chicago, Newman owned a successful gallery in Los Angeles for 20 years before moving to New York seven years ago to become the director of the MB Modern Gallery.  In his Los Angeles gallery he gave widespread exposure to such American mainstream artists as Marsh, Hopper, Zorach, Bishop, and Cadmus, who were rarely seen on the West Coast. 

Since 1999, Newman has expanded the scope of David Findlay Jr Fine Art to include American Modernism, with concentration on the Abstract Expressionists and other contemporary artists.  His exhibitions in this vein began with the Founding Five of the Tanager Gallery in 2002, which was followed by Six Indian Space Artists the next year.  These exhibitions led Newman to re-examine this period of American art in depth.  “I took the time to slow down and examine the history of the post World War II period and found it to be much richer and more nuanced than I had previously thought.” 

Among his formative experiences were weekly visits with his mother to the Art Institute of Chicago.  Newman’s mother was herself a successful painter with a studio in their home.  His education includes an M.A. degree from the University of Southern California and the study of arts administration at New York University.  Newman’s interest in revisionist art history is based on an uncommon devotion to the moral imperative of art.  Artists such as Robert Richenburg, Peter Busa, Nic Carone, Alcopley, and John Stephan have worked steadily from four to six decades at forefront of our nation’s art, only to have slipped into relative obscurity in recent times.  Newman passionately believes that their remarkable achievement and talent has not been diminished by years of neglect.  These artists work in a painterly tradition and their canvasses still have the power to visually excite while providing abundant food for thought and contemplation. 

Robert Richenburg and his wife Marggy stated, “Newman is remarkable, one of a kind in his relationship with artists, infinitely moving beyond the standard dealer/artist associations.  We deeply care about him.  Our connection began with a professional bond, but extended into a rich friendship, even becoming a part of our family.  His passion for art, his integrity, warmth, and sincerity go beyond the impersonal, superficial relationships so often found in the art world.  In addition he gives so much nurturing concern for his staff which motivates them to stretch and grow in their careers.” 

Will Barnet commented, “Newman has a special feeling for artists and we appreciate him enormously.  He is very much on the social scene - friendly, warm, gregarious and especially cognizant and understanding of artists’ problems and needs.  For bringing back the finest neglected artists of the 1940s and 50s with lasting qualities for the future, he certainly deserves his success.” 

Regina Cherry, widow of the painter Herman Cherry, emphatically feels that “Newman works harder than anyone to re-establish key historic painters and helps to resurrect even excellent artists who were not so famous.  He is totally dedicated and sells in his sleep, twenty-four hours a day.” 

Newman has guided a new breed of collectors to acquire the work of this forgotten generation.  Most of his collectors are polar opposites from the mercenary prospectors who buy art solely for resale at a profit.  Collectors don’t necessarily come to him with a love of abstraction either.  Newman has a persuasive, yet gentle way of talking about contemporary art so that even those who once had a strong antipathy to abstraction have been won over.  What really sets Newman apart from so many of his colleagues is that he never shuns novice collectors in deference to seasoned, well heeled regulars, giving equal time and attention to all. 

Legendary collectors Dorothy and Herbert Vogel admire Newman’s willingness to take chances with the artists in which he believes.  They feel that “he is a rarity in this time and place in the art world in that his expertise bridges several generations.  The breadth of his mission spans the rediscovery of artists of the Abstract Expressionist movement and many other contemporary artists.  In all of his interests, he displays a fine eye, is an excellent sales person and has the ability to make everyone feel great.” 

Richard Zahn, who assembled an outstanding collection of American art, recalls that it was Newman who introduced him to the field of contemporary art and said, “He is part professor, part critic, and is always patient with providing a disciplined approach to collecting.  He is the opposite of the stereotypical condescending dealer.  Approaching clients with a spirit of joy and fun, he brings works of art to life when placing them into an historical context.  He vividly conveys an understanding of the time and circumstances in which the artist worked in a way that the paintings become living organisms for me.” 

Craig Klosk gained confidence in collecting in part through Newman’s personality and knowledge.  Klosk observed that “people trust him; he is a terrific guy, honest and sincere in his pursuit of excellence in art.  He made art come alive for me, especially with his introductions to artists and artists’ widows and descendants.  One who goes out of his way to make introductions between artists and collectors, he is always the same to everyone which is the mark of a great leader.” 

Los Angeles based art historian Calvin Goodman commented that “Newman has a keen eye and has developed an eclectic view that has to do with good taste and that transcends fleeting trends.  His mission is to find collectors and then meet their needs by putting them together with works that are well worth a closer study.” 

Louis Newman’s intuitive ability for putting together collectors and works of art has not been seen in a long time.  Those who have dealt with him know that he possesses an uncanny sense of what is artistically and historically significant versus what is emptily commercial.