{"product_id":"a-history-of-the-western-art-market-9780520290631","title":"A History of the Western Art Market","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis is the first sourcebook to trace the emergence and evolution of art markets in the Western European economy, framing them within the larger narrative of the ascendancy of capitalist markets. Selected writings from across academic disciplines present compelling evidence of art's inherent commercial dimension and show how artists, dealers, and collectors have interacted over time, from the city-states of Quattrocento Italy to the high-stakes markets of postmillennial New York and Beijing. This approach casts a startling new light on the traditional concerns of art history and aesthetics, revealing much that is provocative, profound, and occasionally even comic. This volume's unique historical perspective makes it appropriate for use in college courses and postgraduate and professional programs, as well as for professionals working in art-related environments such as museums, galleries, and auction houses.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e“…an extraordinary compendium about the business of art.… \u003ci\u003eA History of the Western Art Market\u003c\/i\u003e will be a golden go-to reference for inquisitive artists, collectors, curators and dealers. It would also be a great resource for journalists and historians who wish to have a more informed perspective.” * Forbes *\u003cbr\u003e\"Highly recommended for museum and academic libraries that support the study of fine and decorative arts; it will also complement certain public and special library collections.\" * Art Libraries Society of North America *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eA Note to Readers\u003cbr\u003e Introduction\u003cbr\u003e\u003cbr\u003e 1. ART IN A COMMERCIAL WORLD\u003cbr\u003e\u003cbr\u003e I. Art in Society\u003cbr\u003e\u003cbr\u003e Illusions of Disinterest\u003cbr\u003e Paul Mattick\u003cbr\u003e\u003cbr\u003e Marx on Ideology and Art\u003cbr\u003e O. K. Werckmeister\u003cbr\u003e\u003cbr\u003e Avant-Garde and Kitsch\u003cbr\u003e Clement Greenberg\u003cbr\u003e\u003cbr\u003e The Artworld\u003cbr\u003e Arthur Danto\u003cbr\u003e\u003cbr\u003e Culture Industry Reconsidered\u003cbr\u003e Theodor W. Adorno\u003cbr\u003e\u003cbr\u003e II. The Value of Art\u003cbr\u003e\u003cbr\u003e The Cultural Biography of Things\u003cbr\u003e Igor Kopytoff\u003cbr\u003e\u003cbr\u003e Aura\u003cbr\u003e Walter Benjamin\u003cbr\u003e\u003cbr\u003e Varieties of Artistic Value in Contemporary Aesthetics\u003cbr\u003e Michael Hutter and Richard Shusterman\u003cbr\u003e\u003cbr\u003e The Production of Belief\u003cbr\u003e Pierre Bourdieu\u003cbr\u003e\u003cbr\u003e The Paradox of Rarity: Photography\u003cbr\u003e Raymonde Moulin\u003cbr\u003e\u003cbr\u003e Symbolic Meanings of Prices\u003cbr\u003e Olav Velthuis\u003cbr\u003e\u003cbr\u003e Art . . . Contemporary of Itself\u003cbr\u003e Jean Baudrillard\u003cbr\u003e\u003cbr\u003e 2. ARTISTS AND COLLECTORS IN THE MARKET FOR ART\u003cbr\u003e\u003cbr\u003e I. The Supply of and Demand for Works of Art\u003cbr\u003e\u003cbr\u003e Two Paradigms of Artistic Activity\u003cbr\u003e Xavier Greffe\u003cbr\u003e Arts Markets\u003cbr\u003e James Heilbrun and Charles M. Gray\u003cbr\u003e\u003cbr\u003e II. The Nature of the Demand for Works of Art\u003cbr\u003e The Synchronization of Social Change in Europe\u003cbr\u003e Fernand Braudel\u003cbr\u003e\u003cbr\u003e Economic Value as the Objectification of Subjective Values\u003cbr\u003e Georg Simmel\u003cbr\u003e\u003cbr\u003e Conspicuous Consumption and Pecuniary Canons of Taste\u003cbr\u003e Thorstein Veblen\u003cbr\u003e\u003cbr\u003e Collectors and Collecting\u003cbr\u003e Russell W. Belk\u003cbr\u003e\u003cbr\u003e Connoisseurs and Experts\u003cbr\u003e Jonathan Brown\u003cbr\u003e\u003cbr\u003e III. The Artist: Homo Economicus \/ Femina Economica\u003cbr\u003e\u003cbr\u003e Art, Honor, and Excellence\u003cbr\u003e Elizabeth Honig\u003cbr\u003e\u003cbr\u003e Determining Value on the Art Market in the Golden Age\u003cbr\u003e Eric Jan Sluijter\u003cbr\u003e\u003cbr\u003e Reference, Deference, and Difference\u003cbr\u003e Griselda Pollock\u003cbr\u003e\u003cbr\u003e The Trademark Tracey Emin\u003cbr\u003e Ulrich Lehmann\u003cbr\u003e\u003cbr\u003e Notes on the Mythic Being I–III\u003cbr\u003e Adrian Piper\u003cbr\u003e\u003cbr\u003e Whose Image Is It?\u003cbr\u003e Barbara Hoffman\u003cbr\u003e\u003cbr\u003e IV. The Art Market\u003cbr\u003e\u003cbr\u003e Property and Exhibition Rights\u003cbr\u003e Walter Santagata\u003cbr\u003e\u003cbr\u003e Informational Efficiency of the Art Market\u003cbr\u003e William N. Goetzmann\u003cbr\u003e\u003cbr\u003e The Market for Modern Prints\u003cbr\u003e James E. Pesando\u003cbr\u003e\u003cbr\u003e 3. THE ITALIAN CITY-STATES\u003cbr\u003e\u003cbr\u003e The Culture of Consumption\u003cbr\u003e Richard A. Goldthwaite\u003cbr\u003e Conditions of Trade\u003cbr\u003e\u003cbr\u003e Michael Baxandall\u003cbr\u003e Italian Artists in Sixteenth-Century England\u003cbr\u003e Cinzia Maria Sicca\u003cbr\u003e\u003cbr\u003e Leonardo and Leonardism\u003cbr\u003e Luke Syson\u003cbr\u003e\u003cbr\u003e Marketing\u003cbr\u003e Richard E. Spear\u003cbr\u003e\u003cbr\u003e The Market for Paintings in Italy\u003cbr\u003e Federico Etro and Laura Pagani\u003cbr\u003e\u003cbr\u003e The Gender and Internationalism of Rosalba Carriera\u003cbr\u003e Shearer West\u003cbr\u003e\u003cbr\u003e Letters to Isabella Stewart Gardner\u003cbr\u003e Bernard Berenson\u003cbr\u003e\u003cbr\u003e 4. ANTWERP\u003cbr\u003e\u003cbr\u003e The Business of Art: Patrons, Clients, and Markets\u003cbr\u003e Maryan W. Ainsworth\u003cbr\u003e\u003cbr\u003e Marketing Art in Antwerp\u003cbr\u003e Dan Ewing\u003cbr\u003e\u003cbr\u003e Pieter Aertsen’s Meat Stall as Contemporary Art\u003cbr\u003e Charlotte Houghton\u003cbr\u003e\u003cbr\u003e Second Bosch\u003cbr\u003e Larry Silver\u003cbr\u003e\u003cbr\u003e A Sixteenth-Century Master-Pupil Contract\u003cbr\u003e Exporting Art across the Globe\u003cbr\u003e Filip Vermeylen\u003cbr\u003e\u003cbr\u003e Trade and Art in Seventeenth-Century Antwerp\u003cbr\u003e Elizabeth Alice Honig\u003cbr\u003e\u003cbr\u003e Rubens’s Studio Practice\u003cbr\u003e Hans Vlieghe\u003cbr\u003e\u003cbr\u003e 5. AMSTERDAM\u003cbr\u003e\u003cbr\u003e On Brabant Rubbish, Economic Competition, Artistic Rivalry, and the Growth of the Market for Paintings\u003cbr\u003e Eric Jan Sluijter\u003cbr\u003e\u003cbr\u003e Cost and Value in Dutch Art\u003cbr\u003e John Michael Montias\u003cbr\u003e\u003cbr\u003e Art Dealers in the Netherlands\u003cbr\u003e John Michael Montias\u003cbr\u003e\u003cbr\u003e Italian Paintings in Holland\u003cbr\u003e Bert W. Meijer\u003cbr\u003e\u003cbr\u003e Freedom, Art, and Money\u003cbr\u003e Svetlana Alpers\u003cbr\u003e\u003cbr\u003e Letters to Constantijn Huygens, ca. 1639\u003cbr\u003e Rembrandt\u003cbr\u003e\u003cbr\u003e Attributions in Auction Catalogs\u003cbr\u003e Koenraad Jonckheere\u003cbr\u003e\u003cbr\u003e The Solliciteur-Culturel\u003cbr\u003e Koenraad Jonckheere\u003cbr\u003e\u003cbr\u003e 6. GERMANY AND SPAIN\u003cbr\u003e\u003cbr\u003e I. Germany\u003cbr\u003e\u003cbr\u003e The Reformation and the Decline of German Art\u003cbr\u003e Carl C. Christensen\u003cbr\u003e\u003cbr\u003e Art Auctions in Germany during the Eighteenth Century\u003cbr\u003e Thomas Ketelsen\u003cbr\u003e\u003cbr\u003e II. Spain\u003cbr\u003e\u003cbr\u003e Painting in Spain, 1500–1700\u003cbr\u003e Jonathan Brown\u003cbr\u003e\u003cbr\u003e Exploring Markets in Spain and Nueva España\u003cbr\u003e Neil De Marchi and Hans J. van Miegroet\u003cbr\u003e\u003cbr\u003e Spanish Art and Global Discourse\u003cbr\u003e Miguel A. Hernández-Navarro\u003cbr\u003e\u003cbr\u003e 7. LONDON\u003cbr\u003e\u003cbr\u003e Picture Consumption in London\u003cbr\u003e Carol Gibson-Wood\u003cbr\u003e\u003cbr\u003e The Art Market\u003cbr\u003e Iain Pears\u003cbr\u003e\u003cbr\u003e England and the Netherlands Compared\u003cbr\u003e David Ormrod\u003cbr\u003e\u003cbr\u003e Engraving\u003cbr\u003e Tobias Smollett\u003cbr\u003e\u003cbr\u003e Hogarth\u003cbr\u003e Ronald Paulson\u003cbr\u003e\u003cbr\u003e Portrait Painting as a Business Enterprise\u003cbr\u003e Marcia Pointon\u003cbr\u003e\u003cbr\u003e Christie’s Auction House\u003cbr\u003e Thomas M. Bayer and John R. Page\u003cbr\u003e\u003cbr\u003e Art Collecting and Victorian Middle-Class Taste\u003cbr\u003e Dianne Sachko MacLeod\u003cbr\u003e\u003cbr\u003e David Thomson and the Goupil Gallery\u003cbr\u003e Anne Helmreich\u003cbr\u003e\u003cbr\u003e Whistler and the English Print Market\u003cbr\u003e Martha Tedeschi\u003cbr\u003e\u003cbr\u003e Roger Fry’s Commercial Exhibitions\u003cbr\u003e Anna Gruetzner Robins\u003cbr\u003e\u003cbr\u003e 8. PARIS\u003cbr\u003e\u003cbr\u003e Gersaint and the Marketing of Art\u003cbr\u003e Andrew McClellan\u003cbr\u003e\u003cbr\u003e David and the “Exposition Payante”\u003cbr\u003e Oskar Bätschmann\u003cbr\u003e\u003cbr\u003e Noising Things Abroad\u003cbr\u003e Steven R. Adams\u003cbr\u003e\u003cbr\u003e An Italian Patron of French Neo-Classic Art\u003cbr\u003e Francis Haskell\u003cbr\u003e\u003cbr\u003e Circuits of Production, Circuits of Consumption\u003cbr\u003e Nicholas Green\u003cbr\u003e\u003cbr\u003e Dealing in Temperaments\u003cbr\u003e Nicholas Green\u003cbr\u003e\u003cbr\u003e Courbet’s Landscapes and Their Market\u003cbr\u003e Anne M. Wagner\u003cbr\u003e\u003cbr\u003e The Retrospective Exhibition\u003cbr\u003e Robert Jensen\u003cbr\u003e\u003cbr\u003e Entrepreneurial Patronage in Nineteenth-Century France\u003cbr\u003e Albert Boime\u003cbr\u003e\u003cbr\u003e Ambroise Vollard Correspondence\u003cbr\u003e Paul Gauguin\u003cbr\u003e\u003cbr\u003e Vollard’s Bronzes\u003cbr\u003e Una Johnson\u003cbr\u003e\u003cbr\u003e La Peau de l’Ours and Galerie Berthe Weill\u003cbr\u003e Michael Cowan Fitzgerald\u003cbr\u003e\u003cbr\u003e The Steins’ Early Years in Paris\u003cbr\u003e Rebecca Rabinow\u003cbr\u003e\u003cbr\u003e The Avant-Garde, Order, and the Art Market\u003cbr\u003e Malcolm Gee\u003cbr\u003e\u003cbr\u003e Galeries Georges Petit\u003cbr\u003e Michael C. Fitzgerald\u003cbr\u003e\u003cbr\u003e Painting as a Safe Investment\u003cbr\u003e Raymonde Moulin\u003cbr\u003e\u003cbr\u003e 9. ART CONSUMPTION IN INDUSTRIAL AMERICA\u003cbr\u003e\u003cbr\u003e Touching Pictures by William Harnett\u003cbr\u003e Michael Leja\u003cbr\u003e\u003cbr\u003e Winslow Homer as Entrepreneur\u003cbr\u003e Kevin M. Murphy\u003cbr\u003e\u003cbr\u003e J. P. Morgan’s Renaissance Bronzes\u003cbr\u003e Flaminia Gennari-Santori\u003cbr\u003e\u003cbr\u003e The Armory Show\u003cbr\u003e Katherine S. Dreier\u003cbr\u003e\u003cbr\u003e Alfred Stieglitz\u003cbr\u003e Sarah Greenough\u003cbr\u003e\u003cbr\u003e Diary of an Art Dealer\u003cbr\u003e René Gimpel\u003cbr\u003e\u003cbr\u003e Vollard\u003cbr\u003e Edith Halpert\u003cbr\u003e\u003cbr\u003e Press Release, Art of This Century\u003cbr\u003e The Exhibitions at Art of This Century\u003cbr\u003e Jasper Sharp\u003cbr\u003e\u003cbr\u003e 10. NEW YORK\u003cbr\u003e\u003cbr\u003e Artists and Dealers\u003cbr\u003e Dore Ashton\u003cbr\u003e\u003cbr\u003e Mark Rothko\u003cbr\u003e James E. B. Breslin\u003cbr\u003e\u003cbr\u003e The New York Art Market ca. 1960\u003cbr\u003e A. Deirdre Robson\u003cbr\u003e\u003cbr\u003e Clement Greenberg\u003cbr\u003e André Emmerich\u003cbr\u003e\u003cbr\u003e Mike Wallace Interviews Marcel Duchamp\u003cbr\u003e Leo Castelli Gallery\u003cbr\u003e Richard Brown Baker\u003cbr\u003e\u003cbr\u003e Mr. Andy Warhol\u003cbr\u003e Arthur Danto\u003cbr\u003e\u003cbr\u003e The Gutman Letter\u003cbr\u003e Michael Benedikt\u003cbr\u003e\u003cbr\u003e Unpublished Notes\u003cbr\u003e Ad Reinhardt\u003cbr\u003e\u003cbr\u003e Revaluing Minimalism\u003cbr\u003e Anna C. Chave\u003cbr\u003e\u003cbr\u003e Land Artists and Art Markets\u003cbr\u003e Victor Ginsburgh and A. F. Penders\u003cbr\u003e\u003cbr\u003e Unpackaging Simulationism\u003cbr\u003e Alison Pearlman\u003cbr\u003e\u003cbr\u003e 11. THE GLOBAL ART MARKET\u003cbr\u003e\u003cbr\u003e The Art Market in the 1980s\u003cbr\u003e Paul Ardenne\u003cbr\u003e\u003cbr\u003e Video Art\u003cbr\u003e Noah Horowitz\u003cbr\u003e\u003cbr\u003e Money Is No Object\u003cbr\u003e Francis M. Naumann\u003cbr\u003e\u003cbr\u003e The Internationalization of the Contemporary Art World\u003cbr\u003e Alain Quemin\u003cbr\u003e\u003cbr\u003e Neo-modernity, Neo-biennalism, Neo-fairism\u003cbr\u003e Paco Barragán\u003cbr\u003e\u003cbr\u003e Acknowledgments\u003cbr\u003e Bibliography\u003cbr\u003e Index","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402886521175,"sku":"9780520290631","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520290631.jpg?v=1730481774","url":"https:\/\/bookcurl.com\/products\/a-history-of-the-western-art-market-9780520290631","provider":"Book Curl","version":"1.0","type":"link"}