NEW YORK, NY.- In an exclusive interview with artdaily.com, Jill Newhouse, owner of Jill Newhouse Gallery, reflects on her passion for 19th and 20th-century works on paper. Since founding her gallery in 1980, Newhouse has become a leading figure in the art world, specializing in master drawings and fostering connections between historical and contemporary artists. From her gallery’s prime location opposite the Metropolitan Museum of Art to her curatorial expertise and advisory roles, she discusses her dedication to building meaningful collections and the vibrant legacy of her gallery, recently highlighted by a landmark exhibition of Sonia Delaunay’s works.

• Given your focus on 19th and 20th-century European and American drawings, what is it about this specific period and medium that continues to captivate you and drives your passion after so many years in the business?

I have always loved drawings, so for me, it was and continues to be a personal choice. The period I have focused on- from 1820 to1945-is a very intriguing one because so many important aesthetic developments took place. Looking at the work of Corot, Delacroix, Courbet to Bonnard, Vuillard and Matisse in these years, one can see the transition of representational imagery to abstraction, and the beginning of modern art. And this period of aesthetic experimentation and change is particularly evident in the drawings, where artists were free to rebel against the traditional rules. Rebelliousness appeals to me.



• Many of your dealings are private. How do you cultivate and maintain the deep trust required for such relationships with collectors, especially in an era of increasing transparency and online presence?

I believe trust is earned and personal connection is key. I have always felt that way. Everything I do in the gallery has my personal stamp on it. I work closely with clients to understand what they are looking for and to advise them on the best way to acquire or sell works. Over the last 45 years, I have enjoyed many close relationships with important curators and collectors, and it is, to this day, what I enjoy most about having the gallery, and participating in art fairs. I meet all sorts of people from all walks of life brought together by art.

However, I do think personal relationships are on a collision course with the demands of the corporatization of the art world and the digitalization that accompanies that, requiring a quantifiable explanation for all aspects of a work of art. Buying a work of art should be a bit like falling in love; something happens between you and the object. You need the facts but the decision is not always rational, quantifiable or even justified. It is necessary to do analysis, but it sometimes requires a leap of faith. And if you are dealing with someone you trust, that leap is easier.



• In an art world increasingly dominated by contemporary art and digital trends, how do you see the market and appreciation for historical drawings evolving in the next decade?

I do not like to predict markets, especially at a moment of such enormous change in the world in general, but I believe there will always be value in historical art, whether it is currently in the limelight or not. At my gallery, we saw a big increase in the number of new buyers last year, as well as an increase in museum sales. World events made business somewhat erratic, but it was improved by the fact that people now are inclined to collect across markets, so a contemporary collector might buy a Vuillard drawing, or a 19th century collector a Cecily Brown.

Museum interest in drawings is worldwide and strong, but the market for drawings is necessarily a smaller market than contemporary painting, in that there are fewer available objects. Appreciation of these unique objects takes more time and study, but the rewards-financial and otherwise-will always come in the long run.



• What, in your opinion, distinguishes a truly exceptional drawing from a merely good one? What are the subtle nuances or qualities you look for?

I am always looking for an emotional resonance that can only be described as “Je ne sais quoi”. It’s the object that has strength and purpose and impact and a quality of uniqueness. It should leave you with something to think about, and linger on your mind long after you have walked away from it.

• How has the digital age, particularly online viewing rooms and virtual exhibitions, impacted your business model and the way you connect with collectors who specialize in historical works?

Digital tools, including our website and online catalogues, have certainly made it easier to share information with a wide array of people. And our clients can view our gallery and art fair shows now without actually visiting. We don’t use viewing rooms very often; I prefer digital flipbook catalogues on specialized topics and individual artists. We have done many of these that are on the website, which I believe have made a real contribution to art history as well as being a sales tool.

And while these tools have proven useful, the most important thing when buying a piece of historical art is seeing the object in person! Expertise in art should be experiential and cumulative. Google and AI do not have all the answers.



• Beyond aesthetic appeal, what narratives or historical contexts do you often find most compelling in the drawings you choose to represent and why?

Lately, collectors and museums have wanted much more in depth information about the life of the artist, and artists working outside the mainstream are in high demand. We have a lot of interest in works by female artists of the 19th/20th century, so have made an effort to spotlight that in our program. It is quite extraordinary to learn what women in the 19th century struggled through in order to paint. This is quite a change from the formalist approach popular in the early years of my business.

And we sometimes discover wonderful works by previously unknown artists. For example, recently we discovered a large wonderful portrait painting dated 1899 done by a minor Italian artist named Pepino. We were attracted by the quality of the painting, and after researching it, we discovered that the artist’s name was a pseudonym, and his birth name was Josef Hirsch Gold. He was Jewish, lived in Vienna and had converted to Catholicism, something that was quite common in Austria even at the beginning of the 20th century. Pepino exhibited with the Secessionists, and our work was in fact a portrait of his wife. Ultimately, based on the research and this newly discovered profile of the artist, which greatly enriched our appreciation of the painter, we were able to sell the painting to the Jewish Museum in New York.



• For someone new to collecting, what foundational advice would you give regarding starting a collection of 19th or 20th-century drawings, especially concerning authenticity and provenance?

Look look look! And not just in books and online, go see the real art object. Scale and finesse of a work do not translate onto a screen or a page. The more works you can see by an artist that you are interested in, the better. When you do a deep dive, quality and authenticity become more evident. Find a gallery or dealer or curator who you can discuss things with, and use your basic instinct and common sense.

• What do you believe is the most common misconception people have about historical drawings, or about collecting them?

That they are fragile! Paper is very strong and as long as drawings are hung out of direct sunlight, they will be fine.



• Looking back at your extensive career, what was a pivotal moment or a crucial lesson that significantly shaped your approach to the art market and your connoisseurship?

The relationships I have forged with other dealers have proved pivotal to my career, always taking me in new directions and expanding my connections within the art world. Perhaps the most important relationship has been with Christian Neffe, who had an important gallery in London specializing in the work of the Nabis and other early 20th century French artists. In the mid 1990’s he was looking for someone in New York to work with, and we were introduced. He had brilliant sources for French art, including through many family members of the artists. We have worked together now for almost thirty years. I credit Christian with bringing me into the 20th century as he opened my eyes to the work of Vuillard, Bonnard, Signac and many other painters of that period.



• How do you balance the meticulous scholarly work required for historical pieces with the fast-paced demands of running a successful gallery business today?

We put great emphasis on the scholarly research of the artworks in the gallery, so our clients know they can rely on us for accurate and thoughtful information, even if this slows down bringing an artwork to market. I have personally worked on the authentication of Corot drawings with colleagues in France. I also maintain great relationships with the major scholars on the artists in whose work we specialize: Delacroix, Rousseau, Bonnard, Vuillard, Matisse.

The research just becomes part of the daily activities of the gallery so that clients can rely on the fact that what we are showing them is real. And experience helps a great deal with this.



• Are there any particular artists or movements within your specialty that you feel are currently undervalued or deserve more recognition from the broader art world?

I believe French and American works on paper of the 19th century , the area I specialize in, are undervalued right now. This includes works by important artists like Corot, Delacroix, Rousseau, the Barbizon school, Bonnard and Vuillard, and American works on paper by Cassatt, Sargent, Hopper, and the American Pre-Raphaelites. These areas have great opportunities at this particular moment. Excellent examples by these artists can be bought for under $ 100,000 and frequently for under $ 50,000.

• What role do you see art galleries like yours playing in the broader cultural landscape today, beyond just facilitating sales, particularly in educating and inspiring new generations of collectors?

We work very hard at reaching new people by publishing digital catalogues about historical artists as well as organizing exhibitions that include contemporary artists side by side with historical ones. We are trying to get the message out that the world is a continuum, and we can see this through works of art. It is fascinating to me that mankind has always had a need to create art, even if that meant decorating basic objects used in everyday life. It is a consistent fact about humans, and consistency is something I think we can all use a bit more of today.

• If you could give your younger self, just starting out in the art world, one piece of advice about navigating this unique profession, what would it be?

I started my business because I loved art - particularly drawings - and I wanted to work in a field I loved. To have been able to do that is a real gift in life. So I guess I would tell myself to follow your instincts about art and about people, and to believe in yourself. Then I would quote Brian Wilson and tell my younger self: “Don’t worry baby, everything will turn out alright.”