Modernization and Rural Imagery at the Paris Salon: An Interdisciplinary Approach to the Economic History of Art (original) (raw)
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Liberalizing Art. Evidence on the Impressionists at the end of the Paris Salon
European Journal of Political Economy, 2020
We analyze the art market in Paris between the government-controlled Salon and the post-1880 system, when the Republican government liberalized art exhibitions. The jury of the old Salon decided on submissions with a bias in favor of conservative art of the academic insiders, erecting entry barriers against outsiders as the Impressionists. With a difference-in difference estimation, we provide evidence that the end of the government-controlled Salon contributed to start the price increase of the Impressionists relative to the insiders.
Reevaluating Economic Conditions of Art Production
In this paper, I seek to understand contemporary art practices through the lens of economic production models. While artists lie outside of most assumptions made about workers in economic models (for example, that workers prefer leisure to labor, and that leisure and labor are separate ways of being), artists have been analyzed by a group of economists studying creative production. I begin by outlining several of these models of artists' labor. I then analyze how those models of production correspond with a categorization of production more typically discussed in art—high vs. low art. In turn, I discuss the phenomenon of artists producing works as commodities, or the artist as brand.
Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution of art dealers over 140 years, using a geocoding system with composite locators. The article explores the different spatial dynamics of this market, and seeks to shed light on the links between the evolution of the Parisian economy as a whole and the individual trajectories of its art dealers.
Aesthetic, Art-Historical and Economic Values in Painting: Empirical Study
Social Science Research Network, 2018
Three different types of data are analyzed together for the first time: technical and economic characteristics of the works of one hundred artists (19-20 th centuries) from the auctions database, scores of art-historical values of these painters by C. Murray and aesthetic estimates collected via specially designed website pollart1000.com. The short survey of the contemporary art was performed to test some findings on another material. Comprehensive statistical analysis of that data presented, which resulted in scoring of best and worst works, establishing correlations between many variables, typology or respondents and more. The conclusions quantify different relationship between many important aspects of art as a social phenomenon, such as a power low distribution for prices; novel models of aesthetic and art prices; complex relations between prices and aesthetic variables and others. Particularly, it is shown that that tastes of people are inclined to figurative and innovational rather than to abstract and conceptual art. A lot of pictures illustrate this and other findings.
Rural Artists' Colonies in Europe, 1870-1910
Why did thousands of nineteenth-century artists leave the established urban centers of culture to live and work in the countryside? By 1900, there were over eighty rural artists’ communities across northern and central Europe. This is the first book to offer a critical analysis of this important phenomenon on a Europe-wide basis. Nina Lübbren combines close visual readings of little-known paintings with an innovative multidisciplinary approach, drawing on sociology, geography, and theories of tourism. Rural artists’ colonies have been unjustly neglected by an art history preoccupied with the urban avant-garde. Yet these communities hatched some of the most exciting innovations of late nineteenth-century painting. Moreover, the practices and images of rural artists articulated central concerns of urban middle-class audiences, in particular the yearning for a nostalgia-imbued life that was considered authentic, premodern, and immersed in nature. Paradoxically, it was precisely this perception that placed artists’ colonies firmly within modernity, mainly through their contribution to an emergent mass tourism.
Thursday 30 May, Royal Academy Friday 31 May, Kingston School of Art, Kingston University As the art market has grown and evolved worldwide, there have been many instances where new areas of production, trade, collecting and valuation of art have emerged. This academic conference and workshop focuses on exploring new paradigms and ways that art markets function, whether in the primary or secondary sector. The aim of this two-day conference and workshop is to evaluate, analyse and explore the range of mechanisms by which a particular 'product' enters the art market, how these markets evolve and who are the key players whether collectors or dealers,) individuals or institutions as well as the range of other agents. Well document prior areas of research into art market innovation, emergence and growth include17 th century imports of Chinese and Japanese ceramics, lacquers and textiles; the market for 17 th century Dutch and Flemish paintings in Paris and London during the 18th century; and the rise of the Barbizon school in 19 th-century Paris. More recently we have seen the emergence of photography and street art as important areas of production introducing both opportunities and risks to existing and new players. New art forms such as digital and video art raise further questions as to whether existing models of agency are still appropriate and thus, whether new technology is fundamentally changing the creation, trade, consumption and validation of art. This conference invites new and existing research around the emergence of art markets, their evolution and dynamics. Conference topics will include: the role of the state in the development of markets, the role of the artist. The art fair and the collector the creation of new markets, the dealer and the market, mapping markets, the role o f new media and impact of social change-with an ongoing focus and discussion on the tools, techniques, research methods and strategies which enable the study of art markets. In-depth discussion following each group of papers will allow participants to explore the complex relationships between the different factors that create, support and sustain the rise or fall of particular markets. The workshop ends with two round table discussions to explore further the methodologies involved in researching new markets. For further information or to register please
Bordeaux vs. Paris: An Alternative Market for Local and Independent Artists?
Arts
In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the...