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Articles 1 - 7 of 7
Full-Text Articles in Art and Design
The Market For Classic French Modern Art Prior To 1940, Robert Jensen
The Market For Classic French Modern Art Prior To 1940, Robert Jensen
Art and Visual Studies Presentations
Using a quantitative methodology based on auction and sales prices, the paper describes the high-end market for paintings between 1895 and 1839 (paintings selling for $10,000 or more), especially in reference to what the author describes as "classic French modern art." The paper compares prices between Old Master art, classic French modern art, and contemporary art during this period, and asks why classic French modern art sold for prices nearly as high as Old Master art did during this period, especially when compared to contemporary painting.
Exploring The Knoedler Gallery's Premium Picture Market, 1872-1934, Robert Jensen
Exploring The Knoedler Gallery's Premium Picture Market, 1872-1934, Robert Jensen
Art and Visual Studies Presentations
This paper was first delivered at the conference Art Dealers, America and the International Art Market, 1880-1930 sponsored by the Getty Research Institute, The Getty, Los Angeles, CA, January 2018. The essay is based on research conducted at the GRI Special Collections’s archival holdings of materials belonging to the New York art gallery M. Knoedler & Co. The paper outlines a quantitative methodology for approaching the Getty’s data set, which was created through the transcription of Knoedler’s 11 painting stock books covering the gallery’s operations from 1872 to its closing in 1970. The paper explores the advantages of concentrating on …
Why Munch?, Robert Jensen
Why Munch?, Robert Jensen
Art and Visual Studies Presentations
Why Munch? was a keynote lecture for the conference "Marketing the North," sponsored by the society Munch, Markets and Modernism, in November 2017. In asking the question, the paper explores Munch's canonical status, especially vis-a-vis other Scandinavian artists of his time. In particular, the essay addresses the evolving nature of artistic professionalism at the end of the 19th century, and how Munch's personal and artistic behavior evoked a new definition of bohemianism that resonated deeply with the rise of European modernism and the post-1900 avant-gardes.
Professionalism And The Market In 19th-Century Europe, Robert Jensen
Professionalism And The Market In 19th-Century Europe, Robert Jensen
Art and Visual Studies Presentations
This paper explores the changing identity of artistic professionalism, especially in late 19th-century France. It ties artistic self-fashioning to the collapse of the Salon system and casts professionalism as a marketing strategy.
Classic French Modern, Robert Jensen
Classic French Modern, Robert Jensen
Art and Visual Studies Presentations
This conference paper presented at Art Without History symposium sponsored by the Oskar Reinhart Collection, September 2012, explores the development of modern house museums devoted to collections of 'classic French modern,' works primarily by the Post-Impressionist artists Cézanne, Gauguin, Toulouse-Lautrec, Seurat, and van Gogh. These museums largely reflect the collecting activities of an international group of collectors that includes the Clark brothers, Duncan Phillips, Chester Dale, and Albert Barnes among the Americans, Samuel Courtauld in Britain, and the Swiss collectors Emil Bührle and Oscar Reinhart. The collections offer an alternative view of Post-Impressionism, one leading not toward the 20th-century avant-gardes, …
Cézanne Among The Artists, Robert Jensen
Cézanne Among The Artists, Robert Jensen
Art and Visual Studies Presentations
Paul Cézanne's association with the dealer Ambroise Vollard made Vollard's fortune and contributed to making the artist famous. How much the dealer was responsible for Cézanne's fame (and the market it generated), however, is open for debate. There is no doubt that three Cézanne shows at Vollard's Paris gallery, beginning with the first, held in November-December 1895, coincided with the sharp escalation in the artist's prices. Other factors, however, also assisted Cézanne's market fortunes-including such landmarks as the purchase of a Cézanne landscape in 1897 by Berlin's Nationalgalerie. Artists, too, contributed at least as much to forging Cézanne's market as …
Vilhelm Hammershøi, Auguste Renoir, And The Problem Of Innovation, Robert Jensen
Vilhelm Hammershøi, Auguste Renoir, And The Problem Of Innovation, Robert Jensen
Art and Visual Studies Presentations
Consider the following eulogy offered the Danish painter, Vilhelm Hammershøi, by one of his own countrymen upon the artist’s untimely death in 1916. “Renoir is an artist for the entire world; Hammershøi, name and repute notwithstanding, only for a small country.”1 The Danish critic offered no criteria for his judgment; it was too obvious to him. Even in his own country Hammershøi could be no more than a minor artist. His diminished posthumous reputation within the history of art might be summed up by the decision in 1931 of the director of the Statens Museum in Copenhagen to return a …