With the COVID-19 crisis damaging not only our health but also the global economy, it’s more important than ever to support the arts. The renowned Madrid gallerist Guillermo de Osma reveals his thoughts on Spanish collectors, the art world moving online, and what the Spanish government needs to do now to support the art market. 

As the situation in Spain is now similar to that in Italy. How are galleries handling the lockdown?

My fellow gallerists and I are handling it as well as we can. It will vary greatly from gallery to gallery, of course, depending on their specialty and structures. We are specialized in Modern Art, with some famed artists with others that are less well-known, but historically significant. 

It’s going to be very tough for the art market. Especially for the Spanish market, which is a very fragile ecosystem. To be honest, we have a much smaller art market than we deserve, as the collecting tradition is rather poor. Additionally, there is a lack of tax benefits that would incentivize buyers, such as there are in other countries. Changing this would make a huge difference in the art market in Spain. 

I am keeping busy, as I am working on a biography of Fortuny. I have completed a comprehensive book on Fortuny junior already. Additionally, I am working on an exciting new book about Spaniards in Italy.

Do you think this is a good moment to transition more of the art business online now and for the future — like Art Basel’s virtual fair, Zwirner’s viewing room, or Artnet’s online auctions?

I know that several galleries are now improving their online presence. We don’t have all of our inventory on the website because I don’t like that kind of publicity. There are some very special works in the gallery and showing them in this manner could burn them. We still primarily work traditionally, mainly because art is a very traditional business. 

I would only purchase works sight-unseen if I know the seller very well and trust him. I believe that one can sophisticate the trade by incorporating the internet, but more often than not, it’s important to see the work. The web is excellent for information and research but in the end it’s difficult to purchase very valuable pieces online, especially Old Masters of Modern Art. However, smaller value pieces could be more readily purchased online. Such as Work on Paper or Photography. We’re engaging in these types of sales via Instagram, for example. It makes the Modern Master market more accessible, especially for young collectors. So the internet is good for those types of sales. 

Do you believe that collectors in Spain are open to trying these new ways of experiencing and collecting art?

Spain is still very traditional, so it will take more time than in other countries and cultures for our collectors to venture to the web. Given time, the market in Spain may become more contemporary in terms of purchasing. 

My advice is to purchase for passion, not for investment. Then, no matter what happens, you will always be happy with your painting, no matter if you purchased it online or not. 

You specialize in Modern masters and opened your gallery in 1991. How has the art market in Spain changed since then?

I lived in New York during most of the 1980s and had a gallery there. It was a fantastic time to be in New York. When I returned to Madrid I decided to open a gallery here, even though the markets were and still are completely different in these two cities. 

To be honest, I am often quite disappointed by the collector scene in Spain, which is a very shy market. There is a poor tradition of collecting, with only very few notable private collections. Supporting artists and being passionate about their development is still something few people in Spain strive to do. 

It would be great if the Spanish government would do more to help the market. For example, decrease impediments such as taxes, which are exorbitant at the moment; and increase the benefits, such as tax relief after donations to museums. This would enlarge the base of collectors in Spain – which is very important for the ecosystem of the market.

In Spain, historically, the church and the nobility were the great benefactors. The bourgeoisie hasn’t done enough to push the market. The idea that creation, market, and patrimony are mutually beneficial and dependant on each other, has not yet come to fruition. 

Let’s be hopeful and assume that the Coronavirus crisis will be over by autumn. What exhibitions have you planned?  

We have an exhibition at the moment which will finish mid-April and will then travel to Barcelona. We are continuing our work on future projects. Generally though, It’s a tricky situation for everyone. One has to choose between health or economic consequences.

We only do about four projects per year, because they are very time-consuming. The last one was on the arts between 1920-1950 – it took about four years to put together and came with a comprehensive catalogue… We introduced several Spanish artists during that time. 

I always try to combine academics with market artists. I believe that it is important to combine academia and the market. The market is an essential part of the art world – just as important as academia.

The next show is planned for the end of May, I hope we don’t have to postpone. Exceptionally, it’s the contemporary artist Eduardo Scalla, who can be described as a visual poet. We suggested he work on canvas to see how his poetry translates. We hope to continue with the schedule as planned but are making contingency plans just in case.

What artworks do you have hanging over your sofa at home?

I have many wonderful works at home. It’s a bit eclectic, ranging from the 18th century to the 20th century. We have many works on paper because that’s how I started collecting. Millares, Canogar, Tapies are some of the artists, alongside several lesser-known, but equally wonderful Spanish artists who I also sometimes show in the gallery. 

I’d love to have something older as well, something medieval. 

What artworks do you wish you had bought when you had the chance?

Well, very many pieces! If I could go back in time, then I would have bought more Basquiat in the 1980s, I would be a very wealthy man now. Perhaps I should have bought more for investment, not only for passion. 

Obviously when you are passionate about art then there are many works you’d love to own. Such as a wonderful relief by Hans Arp.

If you could have dinner with any 3 artists, living or dead, who would you choose?

I’ve met many artists over the last few years. For example Warhol, but he was not very interesting. To be honest, many artists I met were, unfortunately, not particularly nice. 

I would invite Schwitters to dinner, he is such a peculiar and interesting artist. Picasso I would have liked, even with his bad sides. Also a lesser-known artist, Oscar Dominguez. He committed suicide on New Year’s Eve of 56/57. I would have asked him many questions about his work. 

One of my favorite artists has always been Dürer. But when you read his books, he mentions money a lot, which I wouldn’t want to speak about over dinner.