„Wolke & Kristall“ – the Dorothee and Konrad Fischer Collection

„Wolke & Kristall“ – the Dorothee and Konrad Fischer Collection at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf

The Kunstsammlung Nordrhein-Westfalen currently exhibits the recently acquired collection of Dorothee and Konrad Fischer whose art gallery had an outstanding role in the promotion of artists such as Carl Andre, Daniel Buren, Gilbert & George, Mario Merz, Bruce Naumann and many others. The exhibition is accompanied by a substantial catalogue devoted to Konrad Fischer’s activities as dealer, artist, curator and collector. See Kunstsammlung.de

Season’s Greetings!

Dear Members and Subscribers to the TIAMSA Blog,

2016 has brought us very exciting months. We launched TIAMSA in July, we have since been joined by almost 140 members from fifteen countries, our board consists of well-known scholars from six countries, and we are in the midst of preparing several major events for 2017, including

  • a roundtable discussion at Art Basel and
  • our conference in London in July!

More information for members to follow after Christmas in our newsletter. Not a member? Sign up here.

At this point of the year we would like to thank you, our members, for your trust and enthusiasm! We are also grateful to our board and the four colleagues who already support our board while awaiting confirmation of their nomination at our annual general meeting in London in July:

Kim Oosterlinck, Université Libre de Bruxelles (Liaison-Officer, Economics)

Iain Robertson, Sotheby’s Institute London (Journal Officer)

Olav Velthuis, Universiteit Amsterdam (President)

Filip Vermeylen, University of Rotterdam (Sub-Committee Officer)

A very warm welcome to them – and to all new members who have joined us since our last newsletter! If you would like to know more about our new board members, please visit artmarketstudies.org.

Our Season’s Greetings come with the Christmas Tree at Rockefeller Center, reminding you of our upcoming TIAMSA gathering in New York during CAA week: It will be held on

February 16th at Christie’s Education, Rockefeller Center, NYC!

The gathering will be open to TIAMSA members and those who are seriously interested in taking up membership. Do join us if you can – and stay tuned for further news.

To all of you our very best wishes for a good holiday and a happy, prosperous New Year!

Yours Veronika, Johannes and the TIAMSA Board

Apologies for cross postings.

CONF: Hans Hartung et l’abstraction (Paris, 12-13 Jan 17)

Hans Hartung and abstraction “Reality other, but reality nevertheless”, International Colloquium (in French, English and German)

Paris, January 12-13, 2017

DFK Hans Hartung et l’abstraction

Venue: DFK Paris, German Center for the History of Art, 45 rue des Petits Champs, 75002.

Willy Maywald, Hans Hartung, 1947, Gelatine Silver, 26 x 23.8cm, Gift of Pam Ebeltoft, 1988, ICP.

In 1949, four years after the end of the war, Stuttgart’s neurologist and art collector Ottomar Domnick published the first monograph (in three languages) on Hans Hartung (1904-1989), a painter and engraver, then mostly unknown. However, in her contribution to the same work, Madeleine Rousseau already characterizes him as a determining figure for the history of abstraction, considering that he “invented a new language” forged “by the experience of present reality” . Continue reading “CONF: Hans Hartung et l’abstraction (Paris, 12-13 Jan 17)”

CFP: Writing Impressionism Into and Out of Art History (London, 3-4 Nov 17)


A man and woman walking under an umbrella in a Paris road, other walkers-by; costumes of ca. 1877.
Gustave Caillebotte – Paris Street; Rainy Day, 1877; Art Institute of Chicago

London, The Courtauld Institute of Art, November 3 – 04, 2017
Deadline: Feb 1, 2017


Impressionism continues to be celebrated in blockbuster exhibitions worldwide: in the last few years alone, Impressionism, Fashion, Modernity (Art Institute of Chicago, Musée d’Orsay, and Metropolitan Museum of Art, 2013); Gustave Caillebotte: The Painter’s Eye (Kimbell Art Museum and National Gallery of Art, Washington, D.C., 2015-2016); and Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (Musée du Luxembourg, National Gallery, London, and the Philadelphia Museum of Art, 2015). Since 1878 when Théodore Duret published his Histoire des peintres impressionnistes, Impressionism has occupied a central place in the canon of art history. That place now seems to be called into question, however. New transnational approaches to nineteenth-century art history have troubled the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside France—Britain, the United States, Australia, and beyond—Impressionism has been pushed to the margins. Though Impressionism has long benefited from powerful and compelling narratives via the social history of art, these readings have been worked through so extensively that it warrants asking whether this area of art history may be exhausted for the moment.

Continue reading “CFP: Writing Impressionism Into and Out of Art History (London, 3-4 Nov 17)”

Information sought on Peter P. Kronthal (1896-1967)

Peter Paul Kronthal (1896-1967)

Sandra Schmidt, Paris, is currently preparing a book on Peter P. Kronthal and is seeking information:

Peter P. Kronthal (1896-1967) started as dealer, then auctioneer for the art business of Jac. Hecht, Berlin, before running his own company in cooperation with Dr. Ernst Mandelbaum, the ‘Internationales Kunst- und Auktionshaus GmbH’ in Berlin-Charlottenburg (1929-1937). After his emigration in 1937 he lived in North London (46 North End Road) and worked as an independent art dealer until his death in 1967.

If you happen to have any information on him, please write to her here.

Article: David Hodge on Robert Morris’ Minimal Sculpture

Robert Morris’s Minimal Sculpture, the Rise of the Gallery Network and the Aesthetics of Commodified Art

Excerpt from the Oxford Journal of Art, Vol. 39, Issue 3, pp. 421-439.

David Hodge

Painting by Robert Morris called 'Location', dated 1962, technique: oil paint on panel with mechanical counters, 512 × 512 mm. Tate, London (Photo: Tate). © Robert Morris/Artists Rights Society (ARS), New York/DACS, London 2016.
Robert Morris, Location, 1962–3, oil paint on panel with mechanical counters, 512 × 512 mm. Tate, London (Photo: Tate). © Robert Morris/Artists Rights Society (ARS), New York/DACS, London 2016.

During 1962 and 1963, the American artist Robert Morris made an object called Location (Fig. 1). This is a wooden panel, featuring two tones of lavender-grey paint – a paler background shade overlayed with text and arrows in a slightly darker hue.1 The word ‘LOCATION’ appears across its centre and the arrows point towards its four edges. Each side bears the word ‘CEILING’, ‘FLOOR’, or ‘WALL’, emphasising its architectural environment. An alterable, numerical meter is also embedded into its surface at each edge, accompanied by the word ‘FEET’. These meters are all adjusted whenever Location is displayed to show the distance between the panel’s edges and the limits of the room.

Continue reading “Article: David Hodge on Robert Morris’ Minimal Sculpture”

Lecture: Léa Saint-Raymond, ‘The auction: the launch of new artistic markets in Paris (1840-1939)’ (French), Paris, 14 Dec

Léa Saint-Raymond (Université Paris Ouest Nanterre): « L’épreuve des enchères : le lancement de nouveaux marchés artistiques à Paris, entre les années 1840 et 1939 »

Venue: Centre Malher, 9 rue Malher, room 409.

Beginning in the 1840s, the Auction House in Paris was considered an innovative platform, a commercial springboard for emerging artistic markets. Thus living artists had begun to submit their works directly to auctions. This presentation, a progress report on Léa Saint-Raymond’s doctoral research, Continue reading “Lecture: Léa Saint-Raymond, ‘The auction: the launch of new artistic markets in Paris (1840-1939)’ (French), Paris, 14 Dec”