75 Works

Interview with Luisa Elena Alcalá

Pilar Diez Del Corral
Luisa Elena Alcalá in conversation with Pilar Diez del Corral Corredoira

Introduction

Pilar Diez Del Corral Corredoira
Introduction to vol. 3. no. 2

The Circulation of Zurbarán and Murillo’s paintings in the New World

Akemi Luisa Herráez Vossbrink
Francisco de Zurbarán (1598-1664) and Bartolomé Esteban Murillo (1617-1682) spent most of their career in Seville where their paths mostly overlapped in the mid-seventeenth century. Both competed for the growing number of commissions from local religious orders, parish churches and private patrons. Zurbarán’s sharp figures against dark backgrounds were preferred during the first half of the seventeenth century whereas Murillo’s lighter soft compositions became increasingly popular in the second half. Whereas Zurbarán and Murillo competed...

Editorial

Susanne Meyer-Abich
Editorial Vol. 3, no. 2

The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade

Ana Diéguez-Rodríguez
This paper discusses different ways of trading between Flanders and Spain in relation to paintings in the sixteenth century. The importance of local fairs as markets providing luxury objects is well known both in Flanders and in the Spanish territories. Perhaps less well known is the role of Flemish artists workshops in transmitting new models and compositions, and why these remained in use for longer than others. The article gives examples of strong networks among...

Las colores de un Imperio. Hispanic production and international trade of pigments and pictorial materials in the sixteenth century

Miquel Àngel Herrero-Cortell
This paper aims to offer a a wide view over trade in painters' materials in the Spanish peninsula in the sixteenth century, from their production to their import and export. Factors such as their presence in sources or their availability are also considered in establishing their multiple relationships in the contextual framework of growing globalization. Although they constituted uncategorized products in a very heterogeneous market, they have been grouped in pigments and colorants. Generally, their...

Beyond Murillo: New Data-Driven Research on the Painting Market in Early Modern Seville

Felipe Álvarez De Toledo López-Herrera
While data-driven research has outlined the development of early modern art markets in Europe, the Iberian peninsula remains a lacuna in our knowledge. Seville fulfilled all the necessary prerequisites to support a sophisticated art trade. In the 16thand early 17thcenturies, it was a large metropolis of over 100,000 inhabitants, with a growing merchant class and access to foreign markets due to its role as port to the Indies. Yet its market for paintings remains understudied....

Well-Advised by Friends: Philipp F. Reemtsma’s East-Asian Collection

Silke Reuther
The subject of this article are the East Asian objects in the collection of Philipp Fürchtegott Reemtsma (1893–1959), a leading tobacco and cigarette manufacturer based in Hamburg. In 1968, to mark the tenth anniversary of Philipp F. Reemtsma’s death, his widow, Gertrud Reemtsma, produced a catalogue of her late husband’s collection of Chinese objects, which she presented to friends, advisers, and art dealers. Her correspondence shows how well-connected Reemtsma had been as a collector without...

Private Influence, Public Goods, and the Future of Art History

Kathryn Brown
to follow

Introduction

Kathryn Brown
Introduction to the issue "Politics", Journal for Art Market Studies Vol.3 no.1.

Editorial

Susanne Meyer-Abich
Editorial vol. 3, no. 1

The Art Market and Politics: The Case of the Sigg Collection

Nicola Foster
On 13 June 2012 the Swiss collector Uli Sigg donated his collection of contemporary Chinese art to the new museum of visual art in Hong Kong: M+. In August 2012 Artprice published its report on contemporary art for July 2011 to June 2012 announcing that five out of the ten contemporary artists fetching highest prices at auction, were Chinese. On 29 November 2012 Xi Jinping delivered his first speech after taking office in which he...

Licensing and Relegation. A Totalitarian Trade Regime and Dealers’ Tactics

Caroline Flick
Among the archival records pertaining to the Berlin Head Office of the National Socialist Reich’s Chamber of Fine Arts a list of forty-four art dealers’ names for registration with the new Chamber can be found. The focus of this article is on events surrounding this archival record, dealing exclusively with the trade section within the Reich’s Chamber of Fine Art and focusing on individuals rather than firms. The Reich’s Chamber of Culture was established in...

Reconstructing the Soviet Canon: Strategies for Collecting under Perestroika

Marina Maximova
In 1987 the Moscow art scene became preoccupied with the idea of establishing a museum of contemporary art. As Leonid Talochkin, an active member of Moscow alternative artistic life, collector and archivist mentioned in his letter to one of his émigré artist-friends “everyone seemed to have gone mad with all this museum business” and “various proposals were put forward almost daily”. The article investigates these debates by analysing four museum strategies developed by various art...

A Law of "Unintended" Consequences? United States Federal Taxation and the Market for Modern Art in the United States

Deirdre Robson
This article aims to explore a to-date little considered nexus between U.S. Federal taxation and the American art market. Lacking so far in an increasing body of studies of the relationship between tax policy and the arts is a discussion of impacts which Federal taxation might have had upon the American art market for modern art rather than arts sector more generally. The scope of this article is two-fold: first, to posit a nexus between...

Moralizing the Art Market: A Socioeconomic Perspective on Art Auctions on the Floor and Online

Ronit Milano
Recent analyses of the art world show that the market has taken a primary position in generating the narratives of the art discourse which was led in the past by museums and curators. This shift raises a significant political issue: while conventional curatorial practices are subjective and elitist, we might assume that a shift towards the primacy of more organic structures, such as the market, conveys a more equal representation of the participants in the...

Editorial

Susanne Meyer-Abich
Editorial, Journal for Art Market Studies, vol. 2, no. 4

Introduction

Sarah Salomon
Introduction to vol. 2, no. 4 "Artists on the Market"

An Oeuvre shaped by the Buyers’ Tastes? The Impact of Compromises on the Reception of Robert Mapplethorpe’s Work

Jonathan Maho
Available for scholars at the Getty Research Institute since 2013, the “Robert Mapplethorpe Archive” belongs to the institution’s most noteworthy additions of the last decade. The gift made two years earlier by the R. Mapplethorpe Foundation was significant on at least two counts: for the amount and diversity of the material granted, and for the presence of many unique, rarely seen artworks. The archive notably includes many polaroids but also collages, hand painted photographs, as...

"Wonderful Revelations": Scottish Art at the Venice Biennale and the Strategies of Innovation and Reputation, 1897-1899

Marie Tavinor
This article examines the introduction of two waves of Scottish artists at the newly-founded Venice Biennale in 1897 and 1899 and considers how the Venetian venture negotiated the need to innovate with the imperative to build up its own reputation. Using hitherto unpublished archival material, it touches upon a number of issues regarding marketing practices, art market flows and the consumption of art at the international level.

Contrived Resemblance: Delaroche and Napoleon

Lisa Hackmann
Several contemporaries highlighted the physical resemblance between Delaroche and Napoleon, of which Delaroche appears to have been acutely conscious. The way the painter’s identification with the French emperor has been understood in academic research bears the clear hallmark of biographically psychologising interpretations. This article proposes an alternative way of interpreting this staged similarity between Delaroche and Napoleon. This interpretation derives firstly from an observation of the drastic change in the artist’s professional circumstances that took...

The Artist is Absent: the Artist as Creativity Entrepreneur and Changes in Representation and Practices of "Art"

Franz Schultheis
Currently, a small team based at the university of St Gallen is undertaking ethnographic field research centred around the subject "Artist entrepreneurs and art fabricators: practices and representations of fine art in the context of manufacturing". Based on qualitative research such as participatory observation in art manufactures, comprehending interviews with all participants, but also documentation of entire production processes, the study aims to explore this specific configuration of art production and its effects on changes...

The "Art" and the "Market" Elements of the Art Market: John Linnell, William Agnew and Artist-Dealer Relationships in Nineteenth-Century Britain

Barbara Pezzini
In this essay I propose some general observations and guidelines to explore afresh the nexus between the art market and artistic production. To do so, I investigate these issues within the historical frame of nineteenth century Britain, a time when contemporary national painting enjoyed great success: it commanded high figures, critical acclaim and collectors’ attention. In such a buoyant commercial setting, artists assumed multiple, often co-existing, strategies for the marketing of their oeuvre. Insightful scholarly...

Under Control: Sol LeWitt and the Market for Conceptual Art

Martin Hartung
In April 1972, one year before his accidental death, Robert Smithson cautioned: “The artist isn’t in control of his value.” He did not seem to speak for Sol LeWitt, who emphasized the transformation of the traditional production conditions of an artwork by promoting the idea in favor of its execution in his Paragraphs on Conceptual Art (1967). Moreover, the artist challenged the sale conditions of artworks through offering certificates and instructions in an art market...

Provenance Research into the Collection of Chinese Art at the Museum Rietberg: Switzerland and the transnational history of the art market and art collections

Esther Tisa Francini & Alexandra Von Przychowski
In the example of research at the Museum Rietberg, the history of the art market for Chinese art from the provenance perspective presents itself as a history of collections. The article will demonstrate that an investigation into early art collectors can provide answers to the question when, how and in which context art works from China were appreciated, exhibited and sold. In the substantial history of art transfers, the era of National Socialism is one...

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