Contextualizing Art Markets – serie
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29 produkter
29 produkter
382 kr
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Ellen Emmet Rand (1875-1941) was one of the most important and prolific portraitists in the United States in the first decades of the 20th century. She negotiated her career, reputation, family, and finances in modern and commercially savvy ways, revealing the complex negotiations needed to balance these competing pressures. Engaging with newly available archival documents and featuring scholars with radically different approaches to visual culture, this book not only seeks to interrogate the meaning of Rand’s portraits and her career, but indeed to rethink gender, art, race, business, and modernism in the 20th century.
Women, Art and Money in Late Victorian and Edwardian England
The Hustle and the Scramble
Häftad, Engelska, 2021
539 kr
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Reframing Japonisme
Women and the Asian Art Market in Nineteenth-Century France, 1853–1914
Häftad, Engelska, 2022
377 kr
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Japonisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement.This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d’Ennery (1823–98), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the “Musée d’Ennery” to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d’Ennery’s struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day.Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand-Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d’Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists—Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few— took inspiration from the Japanese material in circulation to create their own unique works of art.Largely absent from the history of Japonisme, these women—and many others—actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée Unterlinden, and the Metropolitan Museum of Art.
377 kr
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By the turn of the 20th century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city's galleries capitalized on foreign collectors' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the world—from Cassatt to Picasso—the contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation, and market crashes which stalled collecting in Europe.Pioneers of the Global Art Market assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market. This anthology fills a significant gap in the expanding field of art market studies by addressing how, initially, contemporary art, which is now known as historical modernism, made its way into collections: who validated what by promoting and selling it, where, and how. It includes unpublished material, concrete examples, bibliographical and archival references, and appeals to students, academics, curators, educators, dealers, collectors, artists and art lovers alike. It celebrates the modern art dealer as transnational impresario, the global reach of the modern-art market, and the impact of traders on the history of collecting, and ultimately on the history of art.
451 kr
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As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion.This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.
281 kr
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This timely book reveals the significant role played by women in the promotion and dissemination of modern and contemporary art to a global audience. It brings together a range of fascinating case studies of women-led galleries in the postwar period, challenging male-dominated histories by analyzing the work of internationally-minded female dealers who worked across continents and helped to develop transnational art networks.The book is arranged in three parts, covering gallerists, dealers and regional art scenes. Part 1 focuses on the promotion of postwar modern art by women gallerists; Part 2 examines the contributions by women art dealers toward the birth of new markets and media, such as video art and photography; finally, Part 3 analyzes case studies from the southern European art scene, paying fresh attention to several under-researched markets in the region like Italy and Portugal.Each chapter study provides a historiographic profile of the gallery under discussion and critical analysis is supported with a wide range of visual material, including portraits of the women art dealers, photographs of the exhibitions they managed, and printed documentation like catalogues, invitations, and posters that were often used to support artists on display in experimental ways. It will be vital reading for students of art market studies, as well as gallery and art market professionals.
1 307 kr
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Women Art Dealers brings together fascinating case studies of galleries run by women between the 1940s and 1980s. It marks a departure from other work in the field of art markets, challenging male-dominated histories by analyzing the work of female dealers who anticipated the global model, worked to promote art across continents, and thus developed an international art market.Part 1 focuses on the women gallerists behind the promotion of modern art after World War II who participated in important research about the neo-Avant-Garde. Part 2 examines the contributions by women art dealers toward the birth of new markets – through establishing the reputation of artistic genres, such as video art and photography, and working at the forefront of advancing contemporary art. Finally, Part 3 analyzes case studies from the southern European art scene, paying fresh attention to several under-researched markets in the region like Italy and Portugal.Each chapter study provides a historiographic profile of the gallery under discussion and critical analysis is supported with a wide range of visual material including portraits of the women art dealers, photographs of the exhibitions they managed, and printed documentation like catalogues, invitations, and posters that were often used to support artists on display in experimental ways.
Social World of Galleries
Contemporary Art, the Market and Internationalization
Inbunden, Engelska, 2024
1 512 kr
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This book presents the first detailed study of the place of contemporary art galleries and gallerists, especially within the art markets of Europe and the United States. Based on the author’s field research carried out for over a decade, and combining ethnographic material with quantitative data, the book reveals the major role galleries play in the creation of art value.Despite being pillars of the art market, there has been very little in-depth research on galleries, especially when compared with the analysis of artists, critics, and dealers. Written by a sociologist who has spent a decade as an art critic, the book builds on work conducted by art historian and sociologist Raymonde Moulin from the 1960s to the 1990s. Drawing on ethnographic observations and interviews with those working in the field today, it provides a thorough and up-to-date analysis of what contemporary art galleries really are: the spaces they occupy both physically and online; their position within gallery ‘districts’; their relation to art fairs and biennials; and how friendship with clients is built and trends within the business, in turn illuminating the hierarchized structure of the sector. The book concludes by addressing a significant gap in data on the art market by providing a sociological ranking of international contemporary art galleries.Offering a detailed analysis to a topic that has never been fully studied, The Social World of Galleries is essential reading for scholars and students of art sociology, art history and art business, as well as gallerists, collectors or art lovers, and artists themselves.
Social World of Galleries
Contemporary Art, the Market and Internationalization
Häftad, Engelska, 2026
513 kr
Kommande
This book presents the first detailed study of the place of contemporary art galleries and gallerists, especially within the art markets of Europe and the United States. Based on the author’s field research carried out for over a decade, and combining ethnographic material with quantitative data, the book reveals the major role galleries play in the creation of art value.Despite being pillars of the art market, there has been very little in-depth research on galleries, especially when compared with the analysis of artists, critics, and dealers. Written by a sociologist who has spent a decade as an art critic, the book builds on work conducted by art historian and sociologist Raymonde Moulin from the 1960s to the 1990s. Drawing on ethnographic observations and interviews with those working in the field today, it provides a thorough and up-to-date analysis of what contemporary art galleries really are: the spaces they occupy both physically and online; their position within gallery ‘districts’; their relation to art fairs and biennials; and how friendship with clients is built and trends within the business, in turn illuminating the hierarchized structure of the sector. The book concludes by addressing a significant gap in data on the art market by providing a sociological ranking of international contemporary art galleries.Offering a detailed analysis to a topic that has never been fully studied, The Social World of Galleries is essential reading for scholars and students of art sociology, art history and art business, as well as gallerists, collectors or art lovers, and artists themselves.
Valentine Gallery
The Forgotten Story of Valentine Dudensing, Matisse, Picasso, and the US Market for Modern Art (1926–1947)
Inbunden, Engelska, 2026
1 307 kr
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This is the first book to examine the key role played by New York gallerist and dealer Valentine Dudensing (1892-1967) in shaping the canon of modern art in the United States.It reveals how Dudensing developed relationships with the country’s leading art collectors, establishing the market and bringing some of modernism’s most celebrated artists to American consciousness in the process. Many of the paintings that he imported from Europe are now the cornerstones of US museum collections.Before the Museum of Modern Art opened in 1929, there were few places in New York to see contemporary art from Paris – the Valentine Gallery was one of them. In the intimate and elegant rooms of the gallery's townhouse premises on 57th Street, the public witnessed the first solo US shows of Giorgio de Chirico and Joan Miró, the first retrospective of Henri Matisse, and Piet Mondrian's only lifetime solo exhibition. In 1939, Pablo Picasso's masterpiece Guernica made its US debut there. Despite its preeminent reputation as a leading centre for modern art for over two decades, the Valentine Gallery name has been lost to history. Dudensing quietly closed the gallery in May 1947 and seemingly disappeared. His death two decades later went unreported in the press.Drawing on a wealth of primary source materials, including the gallery's long-lost sales records, The Valentine Gallery unearths the story of this preeminent forum for modern art, revealing how a pioneering gallerist brought the School of Paris to eminence in the US, and ultimately changed the country's artistic taste forever.
Art Market and the Museum
Institutional Collecting, Display and Patronage since the Mid-Nineteenth Century
Inbunden, Engelska, 2025
1 239 kr
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This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.
Art Market and the Museum
Institutional Collecting, Display and Patronage since the Mid-Nineteenth Century
Häftad, Engelska, 2027
496 kr
Kommande
This book considers how art market stakeholders, including art dealers, collectors and agents, have shaped museum collections and affected exhibition practices since the mid-nineteenth century. Based on new archival research and data analysis, it explores the role of dealers not only in selling directly to museums, but in influencing museum collecting priorities, as well as potential donors. It also examines the important but hitherto overlooked contribution of the female curator-agent.The book is divided into three sections, which address the relationship between art dealers and museums, women as art agents and influencers, and the strategies of entrepreneurial collectors. Featuring contributions from a wide range of international specialists in the market for decorative arts and antiquities, as well as European modernism, The Art Market and the Museum explores the origins and development of the modern Western art market and the global art networks that operated not only in Paris, London and New York, but in cities such as Glasgow, Vienna, Melbourne and Kansas City. It is perfect reading for scholars and researchers on the history of the art market, museum studies and art history more broadly.
Théodore Rousseau and the Rise of the Modern Art Market
An Avant-Garde Landscape Painter in Nineteenth-Century France
Häftad, Engelska, 2023
423 kr
Skickas inom 10-15 vardagar
The 19th century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, Théodore Rousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers and critics who surrounded the artist. It argues for the pioneering role of Rousseau, his patrons and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book provides new insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formal choices within Rousseau’s work, rediscovering the original radical charge that once surrounded the artist’s work and led to extensive and peculiarly modern tensions with the market place.
Lillie P. Bliss
Collector, Advocate, and Visionary Benefactor of the Museum of Modern Art
Inbunden, Engelska, 2025
1 239 kr
Skickas inom 5-8 vardagar
She helped found MoMA and pioneered the promotion of work of American and French modern artists at the turn of the 20th century, but until now, her life and legacy remain woefully under examined.An early pioneer and patron of French and American modernism, Lillie P. Bliss (1864-1931) was one of three female cofounders of MoMA in 1929, and went on to furnish the museum with one of the finest collections of modern art in the world. Presenting case-studies alongside data-driven analysis drawn from original research into the American art market, this book reconstructs Bliss's influential career in rich and compelling detail. It weaves together extensive archival material related to the art and the artists that Bliss collected and patronised – such as Paul Cezanne, Pierre-Auguste Renoir, Edgar Degas, Georges Seurat, and Odilon Redon – the art market of the time and the evolution of the New York museum ecosystem, and highlights the importance of private collecting in the development of American museums.By revisiting MoMA's foundational history, author Irene Walsh explores how Lillie P. Bliss's visionary bequest of over 120 artworks upon her death in 1931 profoundly influenced and shaped the institution, questioning why her pioneering role has been overshadowed by other collectors. Combining biography, market knowledge, institutional analysis, and art history, it enriches our understanding of early 20th-century dealer dynamics and collection strategies in New York, illuminates the role of collections in shaping art narratives, while offering contemporary insights into women's agency in the arts. Global, interdisciplinary, and timely, the book provides fascinating first-hand research into a collector of great importance, and will make a long standing contribution to studies in the art market and 20th-century collecting.
Lillie P. Bliss
Collector, Advocate, and Visionary Benefactor of the Museum of Modern Art
Häftad, Engelska, 2026
496 kr
Kommande
She helped found MoMA and pioneered the promotion of work of American and French modern artists at the turn of the 20th century, but until now, her life and legacy remain woefully under examined.An early pioneer and patron of French and American modernism, Lillie P. Bliss (1864-1931) was one of three female cofounders of MoMA in 1929, and went on to furnish the museum with one of the finest collections of modern art in the world. Presenting case-studies alongside data-driven analysis drawn from original research into the American art market, this book reconstructs Bliss's influential career in rich and compelling detail. It weaves together extensive archival material related to the art and the artists that Bliss collected and patronised – such as Paul Cezanne, Pierre-Auguste Renoir, Edgar Degas, Georges Seurat, and Odilon Redon – the art market of the time and the evolution of the New York museum ecosystem, and highlights the importance of private collecting in the development of American museums.By revisiting MoMA's foundational history, author Irene Walsh explores how Lillie P. Bliss's visionary bequest of over 120 artworks upon her death in 1931 profoundly influenced and shaped the institution, questioning why her pioneering role has been overshadowed by other collectors. Combining biography, market knowledge, institutional analysis, and art history, it enriches our understanding of early 20th-century dealer dynamics and collection strategies in New York, illuminates the role of collections in shaping art narratives, while offering contemporary insights into women's agency in the arts. Global, interdisciplinary, and timely, the book provides fascinating first-hand research into a collector of great importance, and will make a long standing contribution to studies in the art market and 20th-century collecting.
Jewish Dealers and the European Art Market, c. 1860–1940
Negotiating Cultural Modernity
Inbunden, Engelska, 2025
1 307 kr
Skickas inom 5-8 vardagar
Before the tragedy of the Holocaust, many of the leading art and antiques dealers across Europe were Jewish, establishing dynamic cross-Channel, international and transatlantic networks. Aside from a few famous examples, however, we are only at the beginning of exploring the diversity of Jewish dealers' commercial and cultural worlds, and reflecting on the particular conditions that made possible their dramatic expansion within the profession.Adopting a wider geography than any previous study, this book brings together a team of distinguished international contributors to consider Jewish art dealers as an interconnected cohort, tied together by common strategies and a shared vulnerability. After an extended historiographical introduction, the volume presents case studies and trends from 1860-1940, including: Jewish family businesses in Western Europe; the role of Jews as mediators of art from East Asia; the antisemitism and suspicion faced by Jewish dealers; Jews as theorists, exhibition makers and promoters of modern art ; and the geographical mobility and professional reinvention of Jewish dealers in times of economic and political crisis.With a wide variety of illustrations, including paintings, decorative arts, historic photographs and archival material, the volume adopts a mix of methodological approaches to analyse a key chapter in Jewish cultural history and in the history of the international art market.Includes Afterword by Charles Dellheim, author of Belonging and Betrayal: How Jews Made the Art World Modern (2021).
Jewish Dealers and the European Art Market, c. 1860–1940
Negotiating Cultural Modernity
Häftad, Engelska, 2027
496 kr
Kommande
Before the tragedy of the Holocaust, many of the leading art and antiques dealers across Europe were Jewish, establishing dynamic cross-Channel, international and transatlantic networks. Aside from a few famous examples, however, we are only at the beginning of exploring the diversity of Jewish dealers' commercial and cultural worlds, and reflecting on the particular conditions that made possible their dramatic expansion within the profession.Adopting a wider geography than any previous study, this book brings together a team of distinguished international contributors to consider Jewish art dealers as an interconnected cohort, tied together by common strategies and a shared vulnerability. After an extended historiographical introduction, the volume presents case studies and trends from 1860-1940, including: Jewish family businesses in Western Europe; the role of Jews as mediators of art from East Asia; the antisemitism and suspicion faced by Jewish dealers; Jews as theorists, exhibition makers and promoters of modern art ; and the geographical mobility and professional reinvention of Jewish dealers in times of economic and political crisis.With a wide variety of illustrations, including paintings, decorative arts, historic photographs and archival material, the volume adopts a mix of methodological approaches to analyse a key chapter in Jewish cultural history and in the history of the international art market.Includes Afterword by Charles Dellheim, author of Belonging and Betrayal: How Jews Made the Art World Modern (2021).
Private Museum of Contemporary Art
Cultural Capital and the Reshaping of Heritage
Inbunden, Engelska, 2026
1 440 kr
Kommande
What is the purpose of private museums? Who do they benefit and what threat do they pose to their public counterparts? This book examines the global phenomenon of the private museum of contemporary art, assessing the benefits gained by founder-owners of such institutions, and the impact they have on canon formation and art history.The public museum, long considered a pillar of civic society, has for centuries been the manager and keeper of national collections and narratives, the guardian of cultural patrimony. This important role is now being compromised. Private museums, with their ever-expanding collections and often-unlimited financial resources, contribute considerably to this erosion. When it comes to contemporary art, the most sought-after commodity on the art market, this shift of ownership from public to private is at its most pronounced. Thus, control over the creation and safeguarding of future heritage is increasingly in private hands.In this book art dealer and critic Yoram Eshkol-Rokach investigates the political, social and economic circumstances which have created the conditions behind the rise in this phenomenon, addressing ten case studies across the US, France and China. A former gallery owner himself, Eshkol-Rokach utilises his unique position to explore the business histories of each of the individual museum owners and reveals the returns they reap in political, social and economic spheres: benefits that transcend those of traditional art philanthropy.Employing ideas from political and economic theory, art market studies, art sociology, consumer and critical luxury scholarship, and art and fashion histories, The Private Museum of Contemporary Art reveals the interlocking relationship of the museum sector with the art market and the impact of philanthrocapitalism, a venture capitalist gifting ideology, on the museum model.
Ethnographic Collecting and African Agency in Early Colonial West Africa
A Study of Trans-Imperial Cultural Flows
Inbunden, Engelska, 2019
1 950 kr
Skickas inom 10-15 vardagar
The early collections from Africa in Liverpool’s World Museum reflect the city’s longstanding shipping and commercial links with Africa’s Atlantic coast. A principal component of these collections is an assemblage of several thousand artefacts from western Africa that were transported to institutions in northwest England between 1894 and 1916 by the Liverpool steam ship engineer Arnold Ridyard. While Ridyard’s collecting efforts can be seen to have been shaped by the steamers’ dynamic capacity to connect widely separated people and places, his Methodist credentials were fundamental in determining the profile of his African networks, because they meant that he was not part of official colonial authority in West Africa. Kingdon’s study uncovers the identities of many of Ridyard’s numerous West African collaborators and discusses their interests and predicaments under the colonial dispensation. Against this background account, their agendas are examined with reference to surviving narratives that accompanied their donations and within the context of broader processes of trans-imperial exchange, through which they forged new identities and statuses for themselves and attempted to counter expressions of British cultural imperialism in the region. The study concludes with a discussion of the competing meanings assigned to the Ridyard assemblage by the Liverpool Museum and examines the ways in which its re-contextualization in museum contexts helped to efface signs of the energies and narratives behind its creation.
1 923 kr
Skickas inom 5-8 vardagar
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume—the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.
Women, Art and Money in Late Victorian and Edwardian England
The Hustle and the Scramble
Inbunden, Engelska, 2019
1 672 kr
Skickas inom 10-15 vardagar
Women, Art and Money in England establishes the importance of women artists’ commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists’ professional status and business relationships within the complex and changing art market of late-Victorian England.By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered ‘professional’ artists. More important than a Royal Academy education or membership to exhibiting societies was a woman’s ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and ‘middlebrow’ genres, which reinforced prejudices towards women’s ‘naturally’ inferior artistic ability – prejudices that continued far into the twentieth century.From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women’s working lives that is relevant to a number of scholarly disciplines.
Théodore Rousseau and the Rise of the Modern Art Market
An Avant-Garde Landscape Painter in Nineteenth-Century France
Inbunden, Engelska, 2021
1 325 kr
Skickas inom 10-15 vardagar
The nineteenth century in France witnessed the emergence of the structures of the modern art market that remain until this day. This book examines the relationship between the avant-garde Barbizon landscape painter, ThéodoreRousseau (1812-1867), and this market, exploring the constellation of patrons, art dealers, and critics who surrounded the artist.Simon Kelly argues for the pioneering role of Rousseau, his patrons, and his public in the origins of the modern art market, and, in so doing, shifts attention away from the more traditional focus on the novel careers of the Impressionists and their supporters. Drawing on extensive archival research, the book offers fresh insight into the role of the modern artist as professional. It provides a new understanding of the complex iconographical and formalchoices within Rousseau’s oeuvre, rediscovering the original radical charge that once surrounded the artist’s work and led to extensive and peculiarly modern tensions with the market place.
1 395 kr
Skickas
1 325 kr
Skickas inom 10-15 vardagar
This transatlantic study analyses a missing chapter in the history of art collecting, the first art market bubble in the United States. In the decades following the Civil War, French art monopolized art collections across the United States. During this “Gilded Age picture rush,” the commercial art system—art dealers, galleries, auction houses, exhibitions, museums, art journals, press coverage, art histories, and collection catalogues—established a strong foothold it has not relinquished to this day. In addition, a pervasive concern for improving aesthetics and providing the best contemporary art to educate the masses led to the formation not only of private art collections, but also of institutions such as the Metropolitan Museum of Art and to the publication of art histories.Richly informed by collectors’ and art dealers’ diaries, letters, stock books, journals, and hitherto neglected art histories, The New York Market for French Art in the Gilded Age, 1867-1893 offers a fresh perspective on this trailblazing era.
Corporate Patronage of Art and Architecture in the United States, Late 19th Century to the Present
Häftad, Engelska, 2021
382 kr
Skickas inom 10-15 vardagar
This interdisciplinary collection of case studies rethinks corporate patronage in the United States and reveals the central role corporations have played in shaping American culture. The case studies in this volume offers new methodologies and models for the subject of corporate patronage, going beyond the usual focus on corporate sponsorship and collecting to explore the complex organizational networks and motivations behind corporate commissions. Featuring chapters on Margaret Bourke-White, Julie Mehretu, Maxfield Parrish, Pablo Picasso, Diego Rivera, Eugene Savage, Millard Sheets, and Kehinde Wiley, as well as studies on Andrew Carnegie, Andrew Mellon, John D. Rockefeller Sr. and Jr., and Dorothy Shaver, and companies such as Herman Miller and Lord and Taylor, this book looks at a wide array of works, ranging from sculpture, photography, mosaics, and murals to advertisements, department store displays, sportswear, medical schools, and public libraries. It also contains an extensive bibliography on corporate patronage, art collections and exhibitions, sponsorship, and philanthropy in the United States.
Ethnographic Collecting and African Agency in Early Colonial West Africa
A Study of Trans-Imperial Cultural Flows
Häftad, Engelska, 2021
390 kr
Skickas inom 5-8 vardagar
The early collections from Africa in Liverpool’s World Museum reflect the city’s longstanding shipping and commercial links with Africa’s Atlantic coast. A principal component of these collections is an assemblage of several thousand artefacts from western Africa that were transported to institutions in northwest England between 1894 and 1916 by the Liverpool steam ship engineer Arnold Ridyard. While Ridyard’s collecting efforts can be seen to have been shaped by the steamers’ dynamic capacity to connect widely separated people and places, his Methodist credentials were fundamental in determining the profile of his African networks, because they meant that he was not part of official colonial authority in West Africa. Kingdon’s study uncovers the identities of many of Ridyard’s numerous West African collaborators and discusses their interests and predicaments under the colonial dispensation. Against this background account, their agendas are examined with reference to surviving narratives that accompanied their donations and within the context of broader processes of trans-imperial exchange, through which they forged new identities and statuses for themselves and attempted to counter expressions of British cultural imperialism in the region. The study concludes with a discussion of the competing meanings assigned to the Ridyard assemblage by the Liverpool Museum and examines the ways in which its re-contextualization in museum contexts helped to efface signs of the energies and narratives behind its creation.
382 kr
Skickas inom 10-15 vardagar
Why did collectors seek out posters and collect ephemera during the late-nineteenth and the twentieth centuries? How have such materials been integrated into institutional collections today? What inspired collectors to build significant holdings of works from cultures other than their own? And what are the issues facing curators and collectors of digital ephemera today? These are among the questions tackled in this volume—the first to examine the practices of collecting prints, posters, and ephemera during the modern and contemporary periods. A wide range of case studies feature collections of printed materials from the United States, Latin America, France, Germany, Great Britain, China, Japan, Russia, Iran, and Cuba. Fourteen essays and one roundtable discussion, all specially commissioned from art historians, curators, and collectors for this volume, explore key issues such as the roles of class, politics, and gender, and address historical contexts, social roles, value, and national and transnational aspects of collecting practices. The global scope highlights cross-cultural connections and contributes to a new understanding of the place of prints, posters and ephemera within an increasingly international art world.
423 kr
Skickas inom 10-15 vardagar
This transatlantic study analyses a missing chapter in the history of art collecting, the first art market bubble in the United States. In the decades following the Civil War, French art monopolized art collections across the United States. During this “Gilded Age picture rush,” the commercial art system—art dealers, galleries, auction houses, exhibitions, museums, art journals, press coverage, art histories, and collection catalogues—established a strong foothold it has not relinquished to this day. In addition, a pervasive concern for improving aesthetics and providing the best contemporary art to educate the masses led to the formation not only of private art collections, but also of institutions such as the Metropolitan Museum of Art and to the publication of art histories.Richly informed by collectors’ and art dealers’ diaries, letters, stock books, journals, and hitherto neglected art histories, The New York Market for French Art in the Gilded Age, 1867-1893 offers a fresh perspective on this trailblazing era.
Art Markets, Agents and Collectors
Collecting Strategies in Europe and the United States, 1550-1950
Häftad, Engelska, 2022
377 kr
Skickas inom 5-8 vardagar
Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the chapters in this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analysing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing an accessible yet broad introduction to the intricate workings of the art market.