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I agree, Peter, with your comments regarding the painting by Geertgen tot St. Jans. The need to define "maturity" in technical terms may be a disservice to the study and appreciation of art.
There seems to be a strong desire to dismiss the early history of art which includes primitive work and that, of course, is nothing compared to the judgement of 20th century painting which at best is given a token nod that it might hold some small amount of value in the study of art.
I do not intend to rehash arguments about "modern art" but think it fair to note that any effort to take painting to some new level of "maturity" will require more than a return to and concentration of past "masters".
First of all I would argue that realism is not dead. It is, however, now part of a larger artistic pie following all that has happened over the last hundred years. I will avoid a discussion that would argue the idea that a grand and ongoing conspiracy of incompetent artist, dealers, galleries and the press have conspired and in turn have duped the art buying public. But, in fact, what has happened in the last hundred years has changed things forever.
Instead I would like to share some thoughts about the market (sales or effectiveness of our product). Firstly I have to say that any long-term success of a product does not depend on a salesman. Salesmen do not determine the market. The notion that the public buys a lot of work other than realism has little to do with a salesman "leading" a customer away from realism. Marketing groups usually want the artist/designer to produce more of what has been selling or something similar to the competition's latest hit. In the commercial world it becomes the role of artist/designer to study the history of a product, the current conditions, and to find among the vast array of influences what will generate/communicate to his customer. He attempts to meet and exceed the needs of that customer.
What has this to do with maturity of painting? A lot, I believe. Any hope that the school of painting that most of us practice will "mature", in my opinion, will depend on those painters who allow the input and influence of all that preceded them and find inspiration and enthusiasm for their own distinct style. To censor or invalidate efforts we do not agree with puts the student at a disadvantage. The general public does not do this and it is reflected in the diversity and enthusiasm they demonstrate in appreciation across all schools of painting. It can be maddening to know that a blob of paint can evoke aesthetic/emotional response from a viewer but to resent or deny it serves no constructive purpose.
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