Have historical artists really been promoted from minor to major because "they
came to reflect the economic, social, and cultural circumstances of its
audience"?

If by "audience", you mean those who shared the same time and place as the
artist, then you would have explain how Rembrandt, for example, was reflecting
anything more than Lievens about the audience which they shared. Can you list
even one, small circumstance ?


Or, on the other hand, If, by "audience", you mean those who, in subsequent
centuries are doing the promoting - then you have to account for the
incredible diversity  of things that have been promoted in the same time and
place. For example -- not only were Velasquez and Vermeer promoted in late
19th C. France, but also  early Italian painting, Ukiyo-e,  and all that
oriental stuff that went into the Guimet Museum.   What does any of that stuff
reflect about the specific "economic, social, and cultural circumstances" of
late 19th C. France?  -- other than it was a period of prosperity  and French
aesthetes had access to the rest of the world.

While today -- yes, "something" still  rings true of a Manet, and  the Dutch
(Vermeer and Hals) and the Spanish (Valesquez" -- but something also "rings
true" of selected objects from thousands of different cultures, encircling the
globe and spanning 10,000 years.  Which of our "economic, social, and cultural
circumstances" does all of that
stuff reflect ?


Rather any specific detail of our "economic, social, and cultural
circumstance", what rings true about all this stuff is something aesthetic --
something that can be felt rather than explained. (even if this is the kind of
truth that Heidegger specifically attacks)


Which is not to say that aesthetic truth can be felt by everyone.

Not everyone can see that Manet was a much better painter the other French
artists born in 1832 (Christian Eckardt, Hypolyte Moulin, Paul Pascal, Leon
Perrault, Jules Worms, Auguste Allonge etc)

Not even if they are professors of art or art history.

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