'For people of fashion' Domestic imagery and the art market in the Dutch Republic

2000 ◽  
Vol 51 (1) ◽  
pp. 295-316
Author(s):  
Wayne Franits
Keyword(s):  
Art Market ◽  
Dutch Republic

Calvinism and Visual Culture: The Art of Evasion

2020 ◽  
pp. 138-154
Author(s):  
Angela Vanhaelen
Keyword(s):  
Visual Culture ◽  
Visual Arts ◽  
Golden Age ◽  
Art Market ◽  
Dutch Republic ◽  
The Public ◽  
Cultural Life ◽  
The Arts ◽  
Dominant Feature ◽  
Central Claim

This chapter considers the seeming impossibility of reconciling Reformed interdictions with a burgeoning of the arts. Pictures proliferated in post-Reformation Europe. In spite—or perhaps because—of Reformed Protestant prohibitions, the visual arts flourished even in places that embraced Calvinism, with its noted distrust of the image. In the Dutch Republic, for instance, the Reformed faith was adopted as the public confession, yet a lively and prosperous art market was a dominant feature of the so-called Golden Age of cultural and economic vibrancy. The central claim of this chapter is that Calvinism generated an art of evasion and, in so doing, it brought about significant—and often unanticipated—changes to cultural life.

The Mass Market for History Paintings in Seventeenth-Century Amsterdam

2020 ◽  
Author(s):  
Angela Jager
Keyword(s):  
Seventeenth Century ◽  
Art Market ◽  
Dutch Republic ◽  
Mass Market ◽  
Production Methods ◽  
Traditional Art ◽  
Insight Into ◽  
History Paintings

Millions of paintings were produced in the Dutch Republic. The works that we know and see in museums today constitute only the tip of the iceberg — the top-quality part. But what else was painted? This book explores the low-quality end of the seventeenth-century art market and outlines the significance of that production in the genre of history paintings, which in traditional art historical studies, is usually linked to high prices, famous painters, and elite buyers. Angela Jager analyses the producers, suppliers, and consumers active in this segment to gain insight into this enormous market for cheap history paintings. What did the supply consist of in terms of quantity, quality, price, and subject? Who produced all these works and which production methods did these painters employ? Who distributed these paintings, to whom, and which strategies were used to market them? Who bought these paintings, and why?

The Rise of the Dutch Republic

2009 ◽  
Author(s):  
John Lothrop Motley
Keyword(s):  
Dutch Republic

Art Market and Its Investment Capacity

2010 ◽  
pp. 65-78
Author(s):  
A. Sarkisyants
Keyword(s):  
Art Market ◽  
Rate Of Return ◽  
Russian Art ◽  
The World ◽  
Market Trends ◽  
Russian Art Market ◽  
Investment Capacity ◽  
Comparative Rate

The article investigates the world art market trends. It considers the main market indicators, comparative rate of return and the prospects of the market as well as the problems of art banking. Special attention is paid to the Russian art market.

The Issues and the Adversaries

2017 ◽  
Author(s):  
R. R. Palmer
Keyword(s):  
Great Britain ◽  
Dutch Republic ◽  
Roman Emperor ◽  
Two Cities ◽  
Ideological Conflict ◽  
War Aims

In April 1792, France had declared war on the “King of Hungary and Bohemia,” that is the House of Austria or Hapsburg, which, since it possessed most of Belgium, was the most important of the powers that adjoined the French frontiers. By the following summer the French were also at war with the kingdoms of Prussia and Sardinia, and by 1793 with Great Britain, the Dutch Republic, and the Bourbon Monarchy of Spain. Despite occasional appearances, or stated war aims, the war that began in April 1792 became an ideological conflict between new and old—between “democratic” and “aristocratic” forms of society in the sense explained in the preceding volume. This chapter focuses on this complex story and nations involved. It begins with a tale of two cities, involving ceremonial events in Frankfurt and Paris on July 14, 1792. It was, of course, Bastille Day, but it was also the date of the imperial coronation of Francis II, a young man of twenty-four who proved to be the last Holy Roman Emperor.

ІНФОРМАЦІЙНА ФУНКЦІЯ АРТ-РИНКУ В КОНТЕКСТІ СУЧАСНОГО УКРАЇНСЬКОГО МИСТЕЦТВА (НА ПРИКЛАДІ БІЄНАЛЕ)

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Information Society ◽  
Art Market ◽  
Organizational Structures ◽  
Cultural Activity ◽  
Information Structures ◽  
Digital Revolution ◽  
Function Information ◽  
Venice Biennale ◽  
Role Of Information

Обґрунтована необхідність розширення культурологічних досліджень арт-ринку з урахуванням останніх культурно-мистецьких тенденцій, а також його наукової концептуалізації у вітчизняній культурології. Враховуючи зростання ролі інформації, арт-ринок набуває нових ціннісно-смислових аспектів, а інтерес до цієї теми потребує культурологічного осмислення. Інформаційна функція арт-ринку актуалізується завдяки формуванню і розвитку інформаційно-технологічної революції, тому має вплив на соціокультурну діяльність митців та презентацію їхнього мистецтва. Функцію інформування на арт-ринку виконують організаційні структури, серед яких виділено виставки та бієнале. Проаналізовано проєкти українських митців на першій Київській міжнародній бієнале сучасного мистецтва ARSENALE 2012 та проєкт Ж/ Кадирової під час 58 Венеційської бієнале у 2019 р. Ключові слова: арт-ринок, інформаційна функція, інформаційне суспільство, бієнале, Мистецький Арсенал, Арсенале 2012, Венеційське бієнале 2019. The necessity of expanding the cultural researches of the art market, taking into account the latest cultural and art tendencies, is considered, as well as its scientific conceptualization in national cultural studies. The art market is gaining new valuable and semantic meanings, because of the growing role of information. So the interest in this topic requires cultural reflection. The information function of this market is actualized due to the formation and the development of the digital revolution, so it has an impact on the socio-cultural activity of the artists and the presentation of their art. Information structures in the art market are performed by organizational structures, among which exhibitions and biennials are highlighted. The projects of Ukrainian artists from the first Kyiv International Biennale of Contemporary Art ARSENALE 2012 and the project of Zhanna Kadyrova from the 58th Venice Biennale in 2019 are analyzed. Key words: art market, informational function, information society, biennale, Mystetskyi Arsenal, ARSENALE 2012, Venice Biennale 2019.  

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