Tom Blodgett, 1998 (photo courtesy Paul Neevel)




Only when an artist has taken all they can take and a little more, and their lives look satisfactorily tragic for the people — and they die in obscurity and hopefuly ignominy as well — will an American be satisfied.

                                                         — from the Tom Blodgett archives, 1992




William Kent in his studio during an interview session with Peter Falk


We discover.

Bitterness and resignation is often the result when a highly imaginative and innovative artist is forced to come to terms with a lack of critical recognition, exposure, and appreciation. Rediscovered Masters champions these brilliant yet under-recognized artists.

Our mission is to provide an energetic platform for informing and alerting museum curators, gallerists, collectors, historians, and critics of these artists' potentially extraordinary contributions to the history of art.

As a veteran partner for artists and estates, we cherish holding their reputations in trust — because it's a tragedy if the art world remained unaware of their works.

We are very selective.

Once a qualified artist is nominated by a member of our Art Advisory Board, we vote. If an artist is accepted as a member, we become constantly proactive on their behalf, whereas most art websites are simply passive and reactive. Our promotional advocacy is effective because it is rooted in scholarship — not hype.

Our satisfaction comes from introducing the artist’s works to collectors, curators, and dealers who otherwise may never become aware of them.
Joan Thorne was among the very few women ever given a solo at the Corcoran Gallery of Art (left, 1973); and in 2011 (right)

This page shows just a few examples.

The prominent art historian, Barbara Rose, has stated that Joan Thorne [b.1943] is one of the most important women painters to emerge during the 1970s. Thorne was in two Whitney Biennials, won the coveted Prix de Rome, and had a solo at the Corcoran Gallery.  Despite her success, a number of valid reasons conspired to cause her to gradually fade from the scene — among them a significant length of time living abroad.  After meeting with her in her New York studio we secured for her a rediscovery exhibition in 2010 at Sideshow, the highly respected pioneer gallery in Williamsburg, Brooklyn. That show received positive reviews in both the New York Times and Art in America. As a result, we have opened the doors to other galleries throughout the country and have continued to pursue exhibition opportunities.



Arthur Pinajian in Woodstock (ca.1960)

And what about those artists who were never in the limelight to begin with, but who left large and compelling collections? The remarkable story of Arthur Pinajian [1914-1999] is not about rediscovery but about a completely new discovery. Here was an abstract painter, and hermit, who lived amid the Woodstock (New York) art colony but never exhibited. The great contemporary historian of American art, William Innes Homer, first reviewed the collection, which had been destined for the Dumpster. Together, we assembled a group of essayists to produce the monograph. Publication was launched concurrently with an exhibition that traveled to museums in Woodstock, Boston, and Los Angeles in 2010–2011. Ever since 2012, when we began curating exhibitions for galleries from California to New York, sales have been extraordinary. ABC's "Good Morning America" news show called it "The unlikely discovery that has rocked the art world!"



Focusing where it matters


Many thousands of websites display fine art. There are even hundreds of group sites, all of which are passive displays. But Rediscovered Masters is the only site focusing on late career artists and artist estate collections — and the only one that is proactively promoting its members.

Our Mission is to connect artists with museum curators and gallerists who have the strongest affinities with their particular approach to art — their concept and style. In order to effectively make such specific connections, we have carefully identified the missions and affinities of thousands of curators and gallerists worldwide.  

But how do the artists grab their attention?

Through our curated exhibitions. We put ourselves in the shoes of a museum curator. We make careful curatorial decisions to create one or more thematic exhibitions for each artist. Further, we write essays that are both biographical and critical in nature. Together, these make compelling presentations. Without hype. Without fluff. So, when we alert these curators and gallerists, they are eager to take a long and serious look.

Rediscovered Masters is not one of the thousands of websites that are basically static advertising platforms for a wide range of artists whose works are of even wider-ranging quality.  Rather, representation on our site is by invitation only. That’s because we understand the seriousness with which curators, dealers, and collectors approach their missions. And these are the people who will matter most to you.

The Curators’ Mission is to apply their professional insights to develop and illuminate the strengths of their museums’ collections. After all, the soul of every museum is its permanent collection. So, these curators are keen to add new works that are pertinent. Acquisition funds can come from “angels,” those benefactors who make significant donations to the museum, or from deaccessioning unwanted works that have remained in storage for many years. The primary aim of this development process is the creation of best-in-class thematic exhibitions that attract an enthusiastic public.  It’s the obligation of every museum.

Rediscovered Masters has identifed the special interests of every museum curator. And, when an exhibition is being planned, we learn about it years in advance. As a result, whenever our system matches works as an appropriate fit, we automatically alert the curator about the pertinent artists.

The Gallerists’ Mission is very similar to that of a museum curator, except that their goal is to sell art to private collectors and museums. Gallerists are keen to better understand the sensibilities of their clientele and establish long-term relationships with them. The problem for artist estates and even distinguished late career artists is that connecting with the most appropriate — and most effective — gallerists is very difficult. Most galleries have a fixed number of artists in their “stable,” and it’s tough to break in. Nevertheless, when we bring the most pertinent artists to their attention, it’s not through interruption but through permission. That’s because they have told us that they want to be alerted. Just as with museum curators, we have identified their special interests. When a gallery is planning an exhibition, we learn about it well in advance. As a result, whenever our system sees a particular body of work as being a proper fit, we automatically alert the gallerist.

Collectors typically have a very personal approach to living with art. The most serious of them are passionate about building their collections. They follow museum exhibitions and are often closely advised by trusted gallerists. Rediscovered Masters reinforces those relationships by encouraging our collector-viewers to visit our sister company — redMgalleries.com — which actively markets the artworks via its website, its New York gallery, at the major art fairs, and through affinity galleries around the country.

At Rediscovered Masters, our satisfaction comes with the thrill of discovering artists, the exploration of their lives, and the effective presentation of their life stories. We serve as a catalyst for connecting these worthy artists, be they under-recognized talents or compelling new discoveries, to both the museum and gallery worlds.

Please go to the Q&A section for detailed answers to your questions.

If you do not see your answer, please contact us.


Without a strong scholarly foundation any promotional efforts will be ignored by art critics, museum curators, and major gallerists as so much hype and fluff.