Nassim Taleb Tweeted: “no monkey is as good-looking that the ugliest of humans, no businessman worthier than the worst of the poets.” But where are the poets? I see only the monkeys and the businessman.
Aaron Haspel observes: “the contemporary businessman cares only for art, and the contemporary artist only for money.” I will expand that into “the contemporary businessman thinks only about God, and the contemporary Rabbi thinks only about money” or “the contemporary whore dreams only about love and the contemporary priest dreams only about sex”. Heck it doesn’t need to be a “contemporary”.
Caravaggio, The Fortune Teller c. 1596. Musei Capitolini, Rome
These two paintings are by the great Caravaggio. The paintings represent a pivotal reversal in art. The say that Caravaggio wanted to prove a point with the paintings. Even in the early Renaissance the art was derivative, the figures and the heros on a canvas represented a composite image, as a rule imitating and perfecting the earlier masters. 
Caravaggio said that he does need the references, he can go directly to life and picked a Gypsy girl from the crowd to model for his Fortune Teller. Likely this is just a legend, especially because clearly there are different faces in both almost identical paintings. But what is beyond doubt is that Caravaggio indeed took his subjects from the real people, the life around him. The famous scandal with the Pope when Caravaggio actually used a prostitute to model Madonna in one of his paintings (Caravaggio had a McLuhanian epiphany). This was in a way the beginning of the modern art in sense that an artist comes in raw contact with the experience around him and reflects on the “now”.The opposite happened with religion. Religious poetry and prose was an experiential mediation but it then became derivative and quotational. It was no longer an “art”. And now both art and religion meet at the full circle point of the dead derivatives. The only people who are still in-touch with the real world non contextually are the businessmen and the whores.
Caravaggio, The Fortune Teller 1596-97. Musée du Louvre, Paris
In both painting the Fortune Teller is actually removing a ring from the gentleman’s finger with a sly smile (perhaps this is why the legend involves a Gypsy girl). In the first painting Caravaggio’s subject is the flirtatious eye contact. But the is no eye contact in the second painting (above). A more feminine looking boy with the roundly symmetrical head doesn’t see the Fortune Teller or cares about her stealing the ring. He is consumed by a dream.