Les rues des tableaux: The Geography of the Parisian Art Market 1815-1955, Artl@s Bulletin 5, no. 1 (2016) (original) (raw)
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Journal of Cultural Economics, 2007
This article compiles original data relating to artists' place of birth and work migration patterns using various art history dictionaries. The broad historic pattern, from the 13th to the 20th century, of the birth locations of prominent artists is examined, followed by a detailed study of the work migration patterns of prominent artists in two important situations, namely Renaissance Italy and France in part of the 19th century. The evidence indicates a marked clustering of activity of prominent artists, both arising from birth location and migration patterns. Some possible explanations for the observed patterns are briefly outlined.
Artists and the city: mapping the art worlds of eighteenth-century Paris (Urban History)
Urban History, 2018
Paris is renowned for artistic neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries. But for earlier periods, the art-historical picture is much vaguer. Where did artists live and work in the eighteenth century? Which neighbourhoods formed the cultural geography of the early modern art world? Drawing on data from a large-scale digital mapping project locating the addresses of hundreds of eighteenth-century artists, this article answers these crucial questions of urban art history. Following an overview of the digital project, the article explores three different mappings of the city's art worlds: a century long survey of the neighbourhoods inhabited by the Academy's artists; a comparison of where the Guild's artists were living in a single year and a wider world view of Parisian artists abroad. Through its new cartographic models of Paris's art worlds, this article brings the city to the foreground of eighteenth-century French art.
Artists' Studios in Paris: Digitally Mapping the 18th-Century Art World
Journal18, 2018
Paris is a city renowned for its artistic communities. Yet while the art-world neighborhoods of modernist Paris are so well-known, we are far less familiar with the urban lives of the city’s earlier generations of artists. Where were the artists’ studios of eighteenth-century Paris? Which neighborhoods formed the cultural geography of the early modern art world? These questions have driven the archival research and digital development behind a large-scale mapping project: Artists in Paris: Mapping the 18th-Century Art World. This article outlines the initial objectives that inspired this project, the process followed in the various research and development stages, and some of the challenges faced along the way. Then, analyzing maps and data from the site, the article offers some preliminary findings regarding new insights offered into the cultural geography and demography of the Paris art world in the eighteenth century, as well as suggesting potential avenues for further research made possible by this digital mapping project. http://www.journal18.org/issue5/artists-studios-in-paris-digitally-mapping-the-18th-century-art-world/
Brussels Studies, n°69, 2013
Based on detailed diachronic mapping, this article analyses artists’ areas of residence in Brussels from 1830 until today. Powerful spatial logic has taken shape over time, marking the appearance, decline and permanence of poles with a concentration of artists, which must be understood in the context of urban dynamics which have shaped the urban fabric. Three periods may be identified, corresponding to the development (or redevelopment) of specific areas in the city: the second half of the 19th century, associated with the urbanisation of artists’ suburbs in the northeast; the interwar period, characterised by concentrations on the outskirts; and the end of the 20th century, when the former southeast pole became popular once again, at the same time that new concentrations appeared in connection with the renovation of central areas. The mapping work and the results obtained provide an original view of the structuring of the artistic world in Brussels, while revealing the importance of a historical approach in the analysis of contemporary urban dynamics with artists in the spotlight.
Narvaez, L., Davis, H., Griffiths, S., Dino, B. and Vaughan, L. (2017) The Spatial Ordering of Knowledge Economies: The growth of furniture industry in nineteenth-century London. Proceedings 11th International Space Syntax Symposium. Instituto Superior Tecnico Lisboa: Lisbon, Portugal, 2017
Small businesses in the same sector tend to be geographically concentrated. Understanding why businesses in some industries cluster is a key issue in urban economic theory, particularly in the Marshallian and Jacobsian traditions. These emphasize the logistical and informational synergies (advantages) that accrue to firms in agglomeration economies, allowing firms located near one another to accelerate their rate of innovation. However, little is known about how spatial forms foster the clustering of firms or the mechanisms through which this process might facilitate knowledge spillover over between different businesses. In this paper we present an historical case study in which space syntax methods, archival research and urban economic theory were used to enhance understanding of the spatial ordering of London’s nineteenth- and early twentieth-century furniture industry, a sector characterised by a proliferation of small, local firms. The spatial morphologies of the furniture industry in the Shoreditch and Fitzrovia areas of London are profiled by linking business directories, historical Ordnance Survey maps and Goad fire insurance plans to space syntax measures describing the spatial configuration of London’s street network, on a GIS platform. Historically, the two case study areas have hosted a wide range of furniture-manufacturing businesses. We hypothesise that the contrast between the spatial structures of the two districts contributed to the divergent paths development of the furniture industry in these places. Our results suggest the two areas developed as different knowledge economies, in part as a consequence of their contrasting spatial configurations and their influence on industrial organization. Shoreditch became a ‘specialization’ economy (i.e. Marshallian). Here the organic pattern of streets allowed specialized businesses to be located in close proximity to key streets, benefiting from more local footfall, and in close localization of firms belonging to the same industry. Fitzrovia, however, showed a more ‘diversified’ economy (i.e. Jacobsian), accommodating most of its retailers on streets highly integrated across scales and more commercially-driven. In the context of constraints of land use and rising land values, manufacturing operations moved to other places whilst retaining large-size firms that created a retail destination in a high footfall location good for attracting passing trade. We anticipate that this research will contribute to understanding the distinctive spatial cultures of urban manufacturing and to the development of a methodological approach that opens up new prospects for inter-disciplinary research.
Gallery districts of Barcelona: the strategic play of art dealers
Journal of Arts Management, Law and Society, 42: 48–62, 2012
This article focuses on Barcelona’s art market to explore the underlying factors behind the clustering of art dealers in several of the city’s districts. Drawing upon quantitative and qualitative data, the article analyses how such clustering reveals a strategic action in the sense attributed to it by Crozier and Friedberg (1981). Gallery districts are not a reflection of structural factors (economic, urban development-related or social) but the result of a combination of strategic choices – either individual or collective – which explain the permanence of leading gallery districts or the emergence of new ones.
The Painting Industries of Antwerp and Amsterdam, 1500−1700: A Data Perspective
Arts
This study presents a data driven comparative analysis of the painting industries in sixteenth and seventeenth century Antwerp and Amsterdam. The popular view of the development of these two artistic centers still holds that Antwerp flourished in the sixteenth century and was succeeded by Amsterdam after the former’s recapturing by the Spanish in 1585. However, a demographic analysis of the number of painters active in Antwerp and Amsterdam shows that Antwerp recovered relatively quickly after 1585 and that it remained the leading artistic center in the Low Countries, only to be surpassed by Amsterdam in the 1650’s. An analysis of migration patterns and social networks shows that painters in Antwerp formed a more cohesive group than painters in Amsterdam. As a result, the two cities responded quite differently to internal and external market shocks. Data for this study are taken from ECARTICO, a database and a linked data web resource containing structured biographical data on over ...
Understanding the spatial organisation of economic activities in early 19 th century Antwerp
This article uses space syntax analysis to explore the spatial organisation of economic activities in the city of Antwerp in the early 19th century. A cadastral map from 1835 and a commercial almanac for 1838 were used to map the occupations held by the inhabitants of some 10,667 plots. Economic activities were found to be relatively broadly distributed throughout the street system, as opposed to being clustered at particular points. However some trades and occupations were more likely to be found on a ‘foreground network’ of more accessible streets, and this was found to be statistically signi cant. Those occupations found in locations with high accessibility at all scales included retailers, wholesalers and artisans. While retailers would have prioritised access to passing trade, the latter two groups may have valued accessibility to the circulation of goods, products and knowledge as much as to the circulation of people.
The location patterns of artistic clusters: A metro- and neighborhood-level analysis
Analysing census and industry data at the metro and neighbourhood levels, this paper seeks to identify the location characteristics associated with artistic clusters and determine how these characteristics vary across different places. We find that the arts cannot be taken overall as an urban panacea, but rather that their impact is place-specific and policy ought to reflect these nuances. However, our work also finds that, paradoxically, the arts' role in developing metro economies is as highly underestimated as it is overgeneralised. While arts clusters exhibit unique industry, scale and place-specific attributes, we also find evidence that they cluster in 'innovation districts', suggesting they can play a larger role in economic development. To this end, our results raise important questions and point toward new approaches for arts-based urban development policy that look beyond a focus on the arts as amenities to consider the localised dynamics between the arts and other industries.