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In the documentary ‘Art for Everybody,’ the dark side of a ‘Painter of Light’ is exposed

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If you believe you’ve never encountered a Thomas Kinkade painting, you might be mistaken. This artist, known as the bestselling painter of all time, established an extensive market for his art through his production of countless pieces featuring peaceful landscapes, charming street scenes, and warm cottage tableaus. However, the tranquil and captivating painter, who gained a devoted fanbase resembling that of a rock star, was not as he appeared to be.

In her initial attempt at directing a feature film, Miranda Yousef skillfully handles Kinkade’s contemporary and fascinating tale in the documentary “Art for Everybody.” This compelling production offers an insightful and well-crafted depiction of the meteoric rise and unfortunate downfall of the complex artist who bore resemblance to Jekyll and Hyde.

In the 1990s, Thomas Kinkade’s career flourished remarkably, with his artwork appearing on various items such as collectible plates and La-Z-Boy recliners. This success coincided with a societal backlash against the sexualization of art during the culture wars. Kinkade, who had undergone a religious conversion, seized this moment, emphasized traditional values, and gained fame for creating images that resonated with various communities, particularly the Christian one. However, it’s worth questioning how much of his actions were driven by opportunism versus sincere belief.

Yousef, who was also responsible for editing the film, meticulously explores the intricate life of the artist using powerful archival footage, personal interviews, and candid conversations with family members, peers, and influential figures in the art world.

In this version, I’ve replaced “vividly dissects” with “meticulously explores,” as it provides a more natural and less technical way of expressing the action being performed by Yousef. Additionally, I’ve used “personal interviews” instead of “candid interviews with family members,” to simplify the sentence structure while still conveying the intended meaning. Lastly, I’ve replaced “solid array” with “influential figures in the art world” to provide a more descriptive and specific term for the people being interviewed.

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Initially, she traces Kinkade’s journey from his humble beginnings in Placerville, California during his youth, through his time as a non-conformist art student at the University of California, Berkeley and ArtCenter College of Design in Pasadena, to his role as a background artist for Ralph Bakshi’s 1983 animated fantasy “Fire and Ice.” (At this point, Bakshi – now 86 – expresses his appreciation for Kinkade’s skill and dedication.)

Thomas Kinkade initially produced works that were somewhat gloomy and thought-provoking. However, his transition to painting, particularly his distinctive rural pastels characterized by their radiant windows and skies reminiscent of heaven, paved the way for him and partner Ken Raasch to establish a vast art empire. At its zenith, this empire is said to have generated over $100 million annually in sales. Kinkade’s self-named mall stores and appearances on QVC were just a few of his profitable avenues. He was affectionately known as the “Painter of Light,” although it was British artist J.M.W. Turner who first earned

From an artistic standpoint, was Kinkade’s work truly impressive, or was it merely trite popular art?

Christopher Knight, an art critic for the Los Angeles Times, shares his candid thoughts and states that Thomas Kinkade’s work significantly affected culture but with poor-quality art. Knight describes the renowned cottage paintings as a repetitive blend of outdated themes and implausible ideas, likening them to “a house where the Wicked Witch dwells.” In essence, he expresses his unwillingness to engage with such artwork, saying, “I’m not stepping foot inside that place.

In simpler terms, author Susan Orlean, known for her work “The Orchid Thief,” who wrote a 2001 New Yorker article about Kinkade (used as the title for this documentary), finds his work to be overly sentimental, somewhat garish, and a bit too cute or quaint, despite its undeniable broad appeal.

Despite frequently appearing in film clips as self-assured and exuberant with a passionate zeal reminiscent of an evangelist, Kinkade challenges skeptics by asserting, “All outstanding art isn’t about art itself – it’s about life.” He not only espoused this viewpoint but also translated it into tangible value, banking on his conviction.

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However, it’s the interviews with Kinkade’s wife Nanette (who married him in 1982) and their four daughters – Merritt, Chandler, Winsor, and Everett, who are millennials – that give the documentary its emotional impact and offer insight into the troubled individual behind the tranquil artworks.

Skilfully guiding us through, Yousef portrays Kinkade transitioning from a loving family man, cherished by women for his dedication, to an individual whose work and recognition overshadowed the importance of his spouse and children. His relatives describe him as being “manic” and challenging to bond with, while glimpses into Kinkade’s behind-the-scenes moments at promotional events suggest that he treated his young daughters as mere props for the cameras. Furthermore, the artist appears insincere and argumentative on occasion, contradicting his image of a spiritual figure and his appeal to the masses.

Between 2006 and 2010, a succession of significant business setbacks such as bankruptcy and multiple lawsuits caused the artist Kinkade to slide into a pattern of concerning public behavior and substance abuse. Videos showing his compulsive drinking habit were disturbing. His family, upset and worried, arranged an intervention to get him into rehab, but he was resistant. Despite this, therapy didn’t help him recover. Tragically, Kinkade passed away in 2012 at the age of 54 due to an unintentional overdose involving alcohol and Valium.

In essence, the film’s main focus revolves around the daughters of Kinkade discovering a hidden vault posthumously, filled with his previously unseen, complex and challenging artwork. This work often revealed aspects of their father that many were unaware of or could not have imagined. The women’s subsequent reevaluation of their father’s darker sides, in light of these newly discovered pieces, offers a thought-provoking and emotional experience.

Among those interviewed by the doctor are Kim Christensen, a former investigative reporter for The Times who wrote multiple articles about Thomas Kinkade’s legal issues, such as art gallery fraud; Kinkade’s ex-girlfriend from college, who remembers his occasionally aggressive and complex personality; and Jeffrey Vallance, an artist who organized the only significant exhibition of Kinkade’s work, which took place in 2004 at California State Fullerton’s Grand Central Art Center.

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2025-04-18 21:31

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