A History of the Western Art Market
eBook - PDF

A History of the Western Art Market

A Sourcebook of Writings on Artists, Dealers, and Markets

Titia Hulst, Titia Hulst

  1. 432 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

A History of the Western Art Market

A Sourcebook of Writings on Artists, Dealers, and Markets

Titia Hulst, Titia Hulst

Book details
Table of contents
Citations

About This Book

This is the first sourcebook to trace the emergence and evolution of art markets in the Western economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compelling evidence of art's inherent commercial dimension and show how artists, dealers, and collectors have interacted over time, from the city-states of Quattrocento Italy to the high-stakes markets of postmillennial New York and Beijing. This approach casts a startling new light on the traditional concerns of art history and aesthetics, revealing much that is provocative, profound, and occasionally even comic. This volume's unique historical perspective makes it appropriate for use in college courses and postgraduate and professional programs, as well as for professionals working in art-related environments such as museums, galleries, and auction houses.

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Information

Publisher
University of California Press
Year
2023
ISBN
9780520340770
Edition
1
Topic
Art
Subtopic
Art et commerce

Table of contents

  1. CONTENTS
  2. A NOTE TO READERS
  3. INTRODUCTION
  4. 1. ART IN A COMMERCIAL WORLD
  5. I. ART IN SOCIETY
  6. Illusions of Disinterest
  7. Marx on Ideology and Art
  8. Avant-Garde and Kitsch
  9. The Artworld
  10. Culture Industry Reconsidered
  11. II. THE VALUE OF ART
  12. The Cultural Biography ofThings
  13. Aura
  14. Varieties of Artistic Value in Contemporary Aesthetics
  15. The Production of Belief
  16. The Paradox of Rarity: Photography
  17. Symbolic Meanings of Prices
  18. Art. . . Contemporary of Itself
  19. I. THE SUPPLY OF AND DEMAND FOR WORKS OF ART
  20. Two Paradigms of Artistic Activity
  21. Arts Markets
  22. II. THE NATURE OF THE DEMAND FOR WORKS OF ART
  23. The Synchronization of Social Change in Europe
  24. Economic Value as the Objectification of Subjective Values
  25. Conspicuous Consumption and Pecuniary Canons of Taste
  26. Collectors and Collecting
  27. Connoisseurs and Experts
  28. III. THE ARTIST: HOMO ECONOMICUS / FEMINA ECONOMICA
  29. Art, Honor, and Excellence
  30. Determining Value on the Art Market in the Golden Age
  31. Reference, Deference and Difference
  32. The Trademark Tracey Emin
  33. Notes on the Mythic Being l - lll
  34. Whose Image Is It?
  35. IV. THE ART MARKET
  36. Property and Exhibition Rights
  37. Informational Efficiency of the Art Market
  38. The Market for Modern Prints
  39. 3. THE ITALIAN CITY-STATES
  40. The Culture of Consumption
  41. Conditions of Trade
  42. Italian Artists in Sixteenth-Century England
  43. Leonardo and Leonardism
  44. Marketing
  45. The Market for Paintings in Italy
  46. The Gender and Internationalism of Rosalba Camera
  47. Letters to Isabella Stewart Gardner
  48. 4. ANTWERP
  49. The Business of Art: Patrons, Clients, and Markets
  50. Marketing Art in Antwerp
  51. Pieter Aertsen's Meat Stall as Contemporary Art
  52. Second Bosch
  53. A Sixteenth-Century Master-Pupil Contract
  54. Exporting Art across the Globe
  55. Trade and Art in Seventeenth-Century Antwerp
  56. Rubens's Studio Practice
  57. 5. AMSTERDAM
  58. On Brabant Rubbish, Economic Competition, Artistic Rivalry, and the Growth of the Market for Paintings
  59. Cost and Value in Dutch Art
  60. Art Dealers in the Netherlands
  61. Italian Paintings in Holland
  62. Freedom, Art, and Money
  63. Letters to Constantijn Huygens, ca. 1639
  64. Attributions in Auction Catalogs
  65. The Solliciteur-Culturel
  66. I. GERMANY
  67. The Reformation and the Decline of German Art
  68. Art Auctions in Germany during the Eighteenth Century
  69. II. SPAIN
  70. Painting in Spain, 1500-1700
  71. Exploring Markets in Spain and Nueva España
  72. Spanish Art and Global Discourse
  73. 7. LONDON
  74. Picture Consumption in London
  75. The Art Market
  76. England and the Netherlands Compared
  77. Engraving
  78. Hogarth
  79. Portrait Painting as a Business Enterprise
  80. Christie's Auction House
  81. Art Collecting and Victorian Middle-Class Taste
  82. David Thomson and the Goupil Gallery
  83. Whistler and the English Print Market
  84. Roger Fry's Commercial Exhibitions
  85. 8. PARIS
  86. Gersaint and the Marketing of Art
  87. David and the "Exposition Payante"
  88. Noising Things Abroad
  89. An Italian Patron of French Neo-Classic Art
  90. Circuits of Production, Circuits of Consumption
  91. Dealing in Temperaments
  92. Courbet's Landscapes and Their Market
  93. The Retrospective Exhibition
  94. Entrepreneurial Patronage in Nineteenth-Century France
  95. Ambroise Vollard Correspondence
  96. Vollard's Bronzes
  97. La Peau de I'Ours and Galerie Berthe Weill
  98. The Steins'Early Years in Paris
  99. The Avant-Garde, Order, and the Art Market
  100. Galeries Georges Petit
  101. Painting as a Safe Investment
  102. 9. ART CONSUMPTION IN INDUSTRIAL AMERICA
  103. Touching Pictures by William Harnett
  104. Winslow Homer as Entrepreneur
  105. J. P. Morgan's Renaissance Bronzes
  106. The Armory Show
  107. Alfred Stieglitz
  108. Diary of an Art Dealer
  109. Vollard
  110. Press Release, Art ofThis Century
  111. The Exhibitions at Art of This Century
  112. 10. NEW YORK
  113. Artists and Dealers
  114. Mark Rothko
  115. The New York Art Market ca.1960
  116. Clement Greenberg
  117. Mike Wallace Interviews Marcel Duchamp
  118. The Leo Castelli Gallery
  119. Mr. Andy Warhol
  120. The Gutman Letter
  121. Unpublished Notes
  122. Land Artists and Art Markets
  123. Unpackaging Simulationism
  124. 11. THE GLOBAL ART MARKET
  125. The Art Market in the 1980s
  126. Video Art
  127. Money Is No Object
  128. The Internationalization of the Contemporary Art World
  129. Neo-modernity, Neo-biennalism, Neo-fairism
  130. ACKNOWLEDGMENTS
  131. BIBLIOGRAPHY
  132. INDEX