The article examines the phenomenon of artistic fame and obscurity, tracing how once-celebrated artists like William Dyce, Carlo Maratti, Anton Rafael Mengs, and Pompeo Batoni fell into neglect after their deaths, only to be rediscovered centuries later through targeted exhibitions. It recounts specific examples, such as Dyce's painting bought cheaply for a Butlin's chapel and later sold for a high sum, and the recent major exhibition of Mengs at the Prado in Madrid, which revived interest in his work.
This matters because it highlights the cyclical nature of art historical reputation and the critical role that curated exhibitions play in resurrecting forgotten artists, particularly in an era of unprecedented art show proliferation. The article also contextualizes contemporary efforts to revive women artists of the past, noting that while few achieved the fame of their male counterparts, the task of rehabilitation is even more challenging, making such exhibitions essential for correcting historical biases and expanding the canon.