The landscape of American painting has changed dramatically since the National Academy Museum and School of Fine Arts began collecting and educating in 1825, but according to Dr. Annette Blaugrund, director of the Academy, its goal remains the same: to serve as a ‘link to the art of our past and a bridge to that of the future.’

Blaugrund, an esteemed art historian who has been director for nine years, spoke Tuesday night in the Schaffer Art Building on the Academy’s role in the history of American painting. The purpose of the lecture series, said Jerome Witkin, a professor in the College of Visual and Performing Arts, is to diversify aspiring artists’ points of view by hosting a variety of speakers.

Founded by top artists including Samuel F. B. Morse, Asher B. Durand and Thomas Cole, ‘The National Academy of Design has been geared towards promoting the fine arts in America through instruction and exhibition,’ Blaugrund said.

Since its establishment in the 19th century, the Academy’s predominantly conservative governing body has been forced to adapt through competition with independent art societies with more modern tendencies. The conservatism and tradition vigorously maintained by the academy was challenged in the 1920s to 1930s by European modernism, while artists like Jackson Pollock led the way to abstract expressionism through paintings like ‘Autumn Rhythm,’ a style that departed dramatically from the portrait and landscape works of the 19th century.

Though the academy has never rejected artists on a stylistic basis, Blaugrund admitted that artists admitted to the association often have more traditionalist ideals. 1911 marked a turning point in U.S. art, when a group of modernist artists formed the American Society of Painters and Sculptors in opposition to the aesthetics of the academy.

‘The exhibition (by the new society) awakened fresh possibility and opened new images of modernity,’ Blaugrund said.

The conservative customs of the academy have proven to be a weakness, as have continual financial hardships and an inability to change quickly, but Blaugrund and the Academy advisory board are quick to point out that the persistence in the NAMSFA is one of its greatest strengths.

In recent years, the academy has benefited from improvements in communication and facilitated travel, though its long standing rule prohibiting photography or artwork that ‘makes noise or plugs in’ has garnered it a reputation for being old-fashioned. Blaugrund says the council is steadily making strides toward inclusion of contemporary pieces like installations and video works in galleries.

‘The exploration of new mediums and audiences since 1826 has kept the academy alive,’ she said.

Part museum, the academy has amassed over 7,000 works since its establishment that represent the history of American art, which is seeks to share with the public in through its three New York City locations.

‘Annual exhibitions have been hosted by the academy since the 19th century,’ Blaugrund said. ‘And in addition to providing revenue and exposure for the featured artists, the shows seek to increase art appreciation in America and guide public taste.’

The academy is also part school though, and it dedicates much of its precious resources to educating young American artists.

Students of all types are welcomed into the academy, and courses have always been well attended, according to Blaugrund. More than 600 students enrolled at the academy last year, many of which were attracted to the flexible curriculum

‘Students don’t have to follow a strict set of courses,’ Blaugrund said, but they are encouraged to explore a variety of courses to increase repertoire.

The academy hands out $100,000 in prizes every year, according to Blaugrund, in order to ‘attract a younger demographic’ to its ranks.

‘Art has a social function to perform,’ she said, ‘and young artists will carry the torch.’

Published on April 3, 2006 at 12:00 pm