Anne Helmreich - Academia.edu (original) (raw)
Papers by Anne Helmreich
Ever more extensive and effective networks of transportation, communication, and finance in the s... more Ever more extensive and effective networks of transportation, communication, and finance in the second half of the nineteenth century increased the mobility of goods as never before, fueling an enhanced international art market. Simultaneously, the explosive growth of metropolitan centers created local markets of unprecedented scale. These dialectical conditions were particularly salient in Great Britain whose material progress and ambition to become the workshop of the world were on display in the Great Exhibition of the Works of Industry of All Nations in 1851, and numerous international fairs thereafter. The population of the city of London grew rapidly from over 100,000 in 1801 to over two million by the 1850s.[1] While the city was home to poverty, slums, and filth, it was also the stage for displays of spectacular wealth, manifested in ambitious buildings, such as Gilbert Scott's St. Pancras Hotel; the luxury retail trade; and the rich entertainment complex composed of music, theater, and art that attracted not only Londoners but also visitors from around the globe. In this article, we explore the dialogue between the local and the global art markets that established a distinctive dynamic for the British art world as experienced in London. Our analysis derives from two complementary data sets and visualizations. The first is a map plotting the locations of major London commercial art galleries between 1850 and 1914, authored by Pamela Fletcher and David Israel. The second is an analysis by Anne Helmreich, with the assistance of Seth Erickson, of sales data drawn from the stock books of Goupil & Cie, and its successor Boussod, Valadon & Cie, which cover transactions at the firm's various branches located in Paris,
This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, deve... more This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, developed out of a workshop, Grand Challenges of Art History: Digital/Computational Methods and Social Art History, sponsored by the Research and Academic Program of The Clark (26-27 April 2019). The essay was collaboratively written by the contributing authors, whose voices are signified by the colors designated. The contributors to this article all responded to an invitation to address what we self-consciously described as a "Grand Challenge" of art history. For art history, we saw the co-joining of digital and computational methods and the social history of art as one of those grand challenges. While differences of interpretation and even strong disagreement emerge (and are evidenced in this text), these scholars share an interest in analyzing the intellectual anxiety that comes with the destabilizing speed of digital changes to art-historical practice as well as the urgency to ...
The Uses of Excess in Visual and Material Culture, 1600–2010, 2017
Networked: The Art Market in the Nineteenth Century Pamela Fletcher and Anne Helmreich Imagine yo... more Networked: The Art Market in the Nineteenth Century Pamela Fletcher and Anne Helmreich Imagine you are a wealthy Londoner and you want to buy a painting. Where do you go? Who do you trust for advice? What kind of art should you buy? How will you know if the work of art is of good quality? How much should you pay for it? Now imagine you are an artist and you want to sell your work. How do you reach your potential buyers? How do you gauge public taste? How much should you charge for your work? How do you attract attention to your work? Answers to these questions altered over the course of the long nineteenth century. In this chapter, we explore the changing landscape of the art market in London, which emerged during this period as a major site of production and exchange in the international art market in tandem with its rise as a leading global financial center. Over these decades, the London art market expanded exponentially and was reshaped by the emergence of a dense concentration ...
Art Crossing Borders, 2019
This is an open access chapter distributed under the terms of the prevailing CC-BY-NC License at ... more This is an open access chapter distributed under the terms of the prevailing CC-BY-NC License at the time of publication.
Choice Reviews Online, 1997
Art Libraries Journal, 2015
What is a page in the digital age? The Getty Foundation’s Online Scholarly Catalogue Initiative (... more What is a page in the digital age? The Getty Foundation’s Online Scholarly Catalogue Initiative (OSCI) was launched in 2009 to create new models for the publication of museum collection catalogues in the online environment. Five years later, all eight museums participating in the grant programme have published pioneering online catalogues. A final report on the initiative, which will share lessons learned and remaining challenges, as well as core information of value for any museum considering online publishing, will be presented by the Foundation later this year.
Victorian Studies, 2017
This paper examines the publics associated with commercial art galleries in Victorian London, foc... more This paper examines the publics associated with commercial art galleries in Victorian London, focusing on the last quarter of the nineteenth century. The relationship between the gallery and its publics is framed by the larger issue of the relationship between art and commerce, driven by such questions as: Who was art for? Who constituted art’s public(s)? Did commerce interfere with or facilitate art’s desired publics? Did commerce taint or strengthen art? I argue that commercial art galleries reveal the dis-juncture of the Victorian age, inherited from the eighteenth century, between practices that advanced private interests and rhetoric that demanded the commercial sector serve the needs of the public, foster sociability, advance the arts, and benefit the nation.
Perspective, 2015
Los Angeles. Elle a publié de nombreux ouvrages sur les humanités numériques, l'histoire du livre... more Los Angeles. Elle a publié de nombreux ouvrages sur les humanités numériques, l'histoire du livre, le design graphique, l'historiographie de l'alphabet et de l'écriture, ainsi que l'art contemporain.
Perspective, 2015
Avertissement Le contenu de ce site relève de la législation française sur la propriété intellect... more Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. Les oeuvres figurant sur ce site peuvent être consultées et reproduites sur un support papier ou numérique sous réserve qu'elles soient strictement réservées à un usage soit personnel, soit scientifique ou pédagogique excluant toute exploitation commerciale. La reproduction devra obligatoirement mentionner l'éditeur, le nom de la revue, l'auteur et la référence du document. Toute autre reproduction est interdite sauf accord préalable de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Revues.org est un portail de revues en sciences humaines et sociales développé par le Cléo, Centre pour l'édition électronique ouverte (CNRS, EHESS, UP, UAPV).
Romanticism and Victorianism on the Net, 2009
This essay examines the dialectical relationship between the formation of the commercial art mark... more This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.
1600 to the Present, 2013
Getty Research Journal, 2013
This essay examines the practices and strategies adopted by art dealers to establish their profes... more This essay examines the practices and strategies adopted by art dealers to establish their professional expertise. The essay focuses on David Croal Thomson, whose papers are held by the Getty Research Institute and who was affiliated with the London firms of Goupil, Thomas Agnews & Sons, the French Gallery, and Barbizon House. Thomson eschewed connoisseurship as practiced by many of his predecessors in favor of art writing, participating alongside academics, critics, and museum keepers in shaping the emergence of art history in Great Britain. Rather than the model of empirical historicism then being adopted from Germany, Thomson preferred biography, a dominant discourse in British art writing that was well suited to supporting the market in contemporary art.
would become synonymous with urban poverty twelve years later when the bodies of three women, sta... more would become synonymous with urban poverty twelve years later when the bodies of three women, starved to death, were found on the ground floor of an abandoned house.
This book sets out to correct received accounts of the emergence of art history as a masculine fi... more This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern rea...
Visual Resources, 2010
This article investigates the profound shift that occurred in turn‐of‐the‐last‐century art critic... more This article investigates the profound shift that occurred in turn‐of‐the‐last‐century art criticism with the death of the mass‐audience Victorian periodical and the rise of little magazines. While scholarly attention has frequently focused on the latter phenomenon, the demise of key art journals from the nineteenth century, such as the Art Journal and Magazine of Art, has received far less scholarly attention. This essay seeks to rectify this situation and offers an innovative methodological approach inspired by the work of Helene Roberts, namely, analyzing the relationships between art periodical publishing and the art market. Understanding this dynamic affiliation, I argue, is crucial to deepening our understanding of the conditions of modernist art discourse in Great Britain.
Ever more extensive and effective networks of transportation, communication, and finance in the s... more Ever more extensive and effective networks of transportation, communication, and finance in the second half of the nineteenth century increased the mobility of goods as never before, fueling an enhanced international art market. Simultaneously, the explosive growth of metropolitan centers created local markets of unprecedented scale. These dialectical conditions were particularly salient in Great Britain whose material progress and ambition to become the workshop of the world were on display in the Great Exhibition of the Works of Industry of All Nations in 1851, and numerous international fairs thereafter. The population of the city of London grew rapidly from over 100,000 in 1801 to over two million by the 1850s.[1] While the city was home to poverty, slums, and filth, it was also the stage for displays of spectacular wealth, manifested in ambitious buildings, such as Gilbert Scott's St. Pancras Hotel; the luxury retail trade; and the rich entertainment complex composed of music, theater, and art that attracted not only Londoners but also visitors from around the globe. In this article, we explore the dialogue between the local and the global art markets that established a distinctive dynamic for the British art world as experienced in London. Our analysis derives from two complementary data sets and visualizations. The first is a map plotting the locations of major London commercial art galleries between 1850 and 1914, authored by Pamela Fletcher and David Israel. The second is an analysis by Anne Helmreich, with the assistance of Seth Erickson, of sales data drawn from the stock books of Goupil & Cie, and its successor Boussod, Valadon & Cie, which cover transactions at the firm's various branches located in Paris,
This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, deve... more This essay, which sets forth 8 theses accompanied by the scholarly debate that informs them, developed out of a workshop, Grand Challenges of Art History: Digital/Computational Methods and Social Art History, sponsored by the Research and Academic Program of The Clark (26-27 April 2019). The essay was collaboratively written by the contributing authors, whose voices are signified by the colors designated. The contributors to this article all responded to an invitation to address what we self-consciously described as a "Grand Challenge" of art history. For art history, we saw the co-joining of digital and computational methods and the social history of art as one of those grand challenges. While differences of interpretation and even strong disagreement emerge (and are evidenced in this text), these scholars share an interest in analyzing the intellectual anxiety that comes with the destabilizing speed of digital changes to art-historical practice as well as the urgency to ...
The Uses of Excess in Visual and Material Culture, 1600–2010, 2017
Networked: The Art Market in the Nineteenth Century Pamela Fletcher and Anne Helmreich Imagine yo... more Networked: The Art Market in the Nineteenth Century Pamela Fletcher and Anne Helmreich Imagine you are a wealthy Londoner and you want to buy a painting. Where do you go? Who do you trust for advice? What kind of art should you buy? How will you know if the work of art is of good quality? How much should you pay for it? Now imagine you are an artist and you want to sell your work. How do you reach your potential buyers? How do you gauge public taste? How much should you charge for your work? How do you attract attention to your work? Answers to these questions altered over the course of the long nineteenth century. In this chapter, we explore the changing landscape of the art market in London, which emerged during this period as a major site of production and exchange in the international art market in tandem with its rise as a leading global financial center. Over these decades, the London art market expanded exponentially and was reshaped by the emergence of a dense concentration ...
Art Crossing Borders, 2019
This is an open access chapter distributed under the terms of the prevailing CC-BY-NC License at ... more This is an open access chapter distributed under the terms of the prevailing CC-BY-NC License at the time of publication.
Choice Reviews Online, 1997
Art Libraries Journal, 2015
What is a page in the digital age? The Getty Foundation’s Online Scholarly Catalogue Initiative (... more What is a page in the digital age? The Getty Foundation’s Online Scholarly Catalogue Initiative (OSCI) was launched in 2009 to create new models for the publication of museum collection catalogues in the online environment. Five years later, all eight museums participating in the grant programme have published pioneering online catalogues. A final report on the initiative, which will share lessons learned and remaining challenges, as well as core information of value for any museum considering online publishing, will be presented by the Foundation later this year.
Victorian Studies, 2017
This paper examines the publics associated with commercial art galleries in Victorian London, foc... more This paper examines the publics associated with commercial art galleries in Victorian London, focusing on the last quarter of the nineteenth century. The relationship between the gallery and its publics is framed by the larger issue of the relationship between art and commerce, driven by such questions as: Who was art for? Who constituted art’s public(s)? Did commerce interfere with or facilitate art’s desired publics? Did commerce taint or strengthen art? I argue that commercial art galleries reveal the dis-juncture of the Victorian age, inherited from the eighteenth century, between practices that advanced private interests and rhetoric that demanded the commercial sector serve the needs of the public, foster sociability, advance the arts, and benefit the nation.
Perspective, 2015
Los Angeles. Elle a publié de nombreux ouvrages sur les humanités numériques, l'histoire du livre... more Los Angeles. Elle a publié de nombreux ouvrages sur les humanités numériques, l'histoire du livre, le design graphique, l'historiographie de l'alphabet et de l'écriture, ainsi que l'art contemporain.
Perspective, 2015
Avertissement Le contenu de ce site relève de la législation française sur la propriété intellect... more Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. Les oeuvres figurant sur ce site peuvent être consultées et reproduites sur un support papier ou numérique sous réserve qu'elles soient strictement réservées à un usage soit personnel, soit scientifique ou pédagogique excluant toute exploitation commerciale. La reproduction devra obligatoirement mentionner l'éditeur, le nom de la revue, l'auteur et la référence du document. Toute autre reproduction est interdite sauf accord préalable de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Revues.org est un portail de revues en sciences humaines et sociales développé par le Cléo, Centre pour l'édition électronique ouverte (CNRS, EHESS, UP, UAPV).
Romanticism and Victorianism on the Net, 2009
This essay examines the dialectical relationship between the formation of the commercial art mark... more This essay examines the dialectical relationship between the formation of the commercial art market in London over the course of the second half of the nineteenth century and the representation of Victorian art in museum displays of recent decades. With respect to the latter, the essay provides an overview of recent monographic and group exhibitions devoted to Victorian art. It reveals, through the examination of the twinned phenomena of the commercial art market and museological practice, the central role played by exhibition culture in our understanding of Victorian art. It closes by posing questions as to how we might improve our interpretation of Victorian art and culture as presented through museum exhibitions and displays.
1600 to the Present, 2013
Getty Research Journal, 2013
This essay examines the practices and strategies adopted by art dealers to establish their profes... more This essay examines the practices and strategies adopted by art dealers to establish their professional expertise. The essay focuses on David Croal Thomson, whose papers are held by the Getty Research Institute and who was affiliated with the London firms of Goupil, Thomas Agnews & Sons, the French Gallery, and Barbizon House. Thomson eschewed connoisseurship as practiced by many of his predecessors in favor of art writing, participating alongside academics, critics, and museum keepers in shaping the emergence of art history in Great Britain. Rather than the model of empirical historicism then being adopted from Germany, Thomson preferred biography, a dominant discourse in British art writing that was well suited to supporting the market in contemporary art.
would become synonymous with urban poverty twelve years later when the bodies of three women, sta... more would become synonymous with urban poverty twelve years later when the bodies of three women, starved to death, were found on the ground floor of an abandoned house.
This book sets out to correct received accounts of the emergence of art history as a masculine fi... more This book sets out to correct received accounts of the emergence of art history as a masculine field. It investigates the importance of female writers from Anna Jameson, Elizabeth Eastlake and George Eliot to Alice Meynell, Vernon Lee and Michael Field in developing a discourse of art notable for its complexity and cultural power, its increasing professionalism and reach, and its integration with other discourses of modernity. Proposing a more flexible and inclusive model of what constitutes art historical writing, including fiction, poetry and travel literature, this book offers a radically revisionist account of the genealogy of a discipline and a profession. It shows how women experienced forms of professional exclusion that, whilst detrimental to their careers, could be aesthetically formative; how working from the margins of established institutional structures gave women the freedom to be audaciously experimental in their writing about art in ways that resonate with modern rea...
Visual Resources, 2010
This article investigates the profound shift that occurred in turn‐of‐the‐last‐century art critic... more This article investigates the profound shift that occurred in turn‐of‐the‐last‐century art criticism with the death of the mass‐audience Victorian periodical and the rise of little magazines. While scholarly attention has frequently focused on the latter phenomenon, the demise of key art journals from the nineteenth century, such as the Art Journal and Magazine of Art, has received far less scholarly attention. This essay seeks to rectify this situation and offers an innovative methodological approach inspired by the work of Helene Roberts, namely, analyzing the relationships between art periodical publishing and the art market. Understanding this dynamic affiliation, I argue, is crucial to deepening our understanding of the conditions of modernist art discourse in Great Britain.