Fine Art Connoisseur serves art collectors and enthusiasts with innovative articles about representational paintings, sculptures, drawings, and prints — both historical and contemporary, American and European.
Over the past decade, the magazine has developed a particularly strong reputation for its editorial coverage of realism, a field of artistic excellence generally overlooked by other periodicals.
Published six times per year, Fine Art Connoisseur is now a widely consulted platform for the world’s most knowledgeable experts, who write articles that inform readers and give them the tools necessary to make better purchasing decisions. Fine Art Connoisseur‘s jargon-free text and large color illustrations are attracting an ever-growing readership passionate about high-quality artworks and the fascinating stories around them.
In addition to artworks and artists, Fine Art Connoisseur covers the museums, galleries, fairs, auction houses, and private collections where great art is found. In all cases, the magazine seeks to avoid the “same old” stories that other periodicals cover, instead seeking out fresh material others miss or ignore.
About Editor-in-Chief Peter Trippi
Peter Trippi has edited Fine Art Connoisseur since 2006. Previously, he directed New York’s Dahesh Museum of Art, which specialized in 19th-century European academic painting and sculpture; before that, he held senior posts at the Brooklyn Museum and Baltimore Museum of Art.
In 2002, Phaidon Press published Trippi’s monograph J W Waterhouse, which reassesses the Victorian painter best known for his Lady of Shalott at Tate Britain. Trippi went on to co-curate the Waterhouse retrospective that appeared 2008-2010 in the Netherlands, England, and Canada. In 2016, Trippi co-curated the exhibition Lawrence Alma-Tadema: At Home in Antiquity, which is visiting three European museums through 2017: the Fries Museum (Leeuwarden, Netherlands), Belvedere (Vienna, Austria), and Leighton House Museum (London). Trippi co-edited and contributed to the 250-page book that accompanies the project (Prestel).
He is currently president of the Association of Historians of Nineteenth-Century Art and of the Foundation of the American Institute for Conservation. He is former chair of the Courtauld Institute of Art’s U.S. Alumni Group, and past president of Historians of British Art.
Peter Trippi’s latest podcast was produced by The Clark Hulings Fund in February 2017: Recognizing the Legacies of Overlooked Artists
About Andrew Webster, Editor, Fine Art Today
B. Eric Rhoads, chairman of Streamline Publishing and publisher of Fine Art Connoisseur and PleinAir magazines, has appointed Andrew Webster as editor of Fine Art Today. In addition to his role as editor, Webster works as an editorial and creative marketing assistant for Streamline Publishing.
Webster graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy. Webster and his wife, Katherine, live in Saint Cloud, Minnesota.
About Editorial Submissions
Anyone wishing to suggest a topic or submit information for publication in Fine Art Connoisseur is invited to e-mail its editor, Peter Trippi at email@example.com.
All ideas are welcome, though they should always relate to representational paintings, sculpture, drawings, or prints. (Fine Art Connoisseur does not generally cover photography, film, video, abstraction, installations, or decorative art forms.)
The magazine is published on January 1, March 1, May 1, July 1, September 1, and November 1. If you would like to see your news appear in, for example, the July 1 issue, please ensure that it has been sent to Peter Trippi no later than May 15. (This is 45 days ahead of the magazine’s publication date.)
The earlier you send the information, the larger the editorial coverage is likely to be. Because the volume of incoming communications is very high, it is not always possible for the editorial team to acknowledge every message.
We thank you for your patience, and for your interest.