CFP: Nederlands Kunsthistorisch Jaarboek, vol. 69

Connoisseurship and the Knowledge of Art in the Netherlands, 1400 to the present

Connoisseurship has long been suspect. Though essential to the study of material objects, it has been opposed to the more ‘substantive’ discipline of academic art history, and reviled as outmoded and elitist, as tainted by the market, and as concerned merely with such artist-reifying/mystifying issues as attribution, authenticity and the autograph ‘hand’. The connoisseur – with typically his ‘eye’ – has been dismissed as a dinosaur. Continue reading “CFP: Nederlands Kunsthistorisch Jaarboek, vol. 69”

Book Out Now: Titia Hulst, A History of the Western Art Market

TIAMSA Members get a 30% Discount at Check Out!

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A History of the Western Art Market
A Sourcebook of Writings on Artists, Dealers, and Markets
Titia Hulst (Editor)

Available worldwide

Paperback, 432 pages

ISBN: 9780520290631
September 2017
$34.95, £27.95
also available in Hardback

This is the first sourcebook to trace the emergence and evolution of art markets in the Western 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.

The reader includes the texts of 110 authors and is available now.

Out now: Julie Verlaine (ed.), Le Comité professionnel des galeries d’art

Julie Verlaine (ed.), Le Comité professionnel des galeries d’art, soixante-dix ans d’histoire 

(1947-2017), Paris, Hazan, 18 octobre 2017, 176 p (with contributions by Clara Bouveresse, Tatiana Debroux, Alexis Fournol, Alain Marciano, Jérémie Molho, Nathalie Moureau and Marion Vidal).

Founded in 1947 by a group of Parisian merchants (Louis Carré, Gildo Caputo), the Professional Committee of Art Galleries (CPGA) was originally intended to be a lobbying body vis-à-vis public authorities and elected officials, a space for collective thinking and sociability for Parisian merchants and a place for the emergence of proposals for tax, legal and economic reforms of the French art markets. Its history reflects that of the art markets and presents an effective key to analyze major issues such as the regulation of trade, the definition of original works of art, the defense of the French art market or even contractual relations with artists and collectors.
This book is the result of multidisciplinary research based on unpublished archive material and numerous interviews. It examines thehighlights of the activity of the CPGA during its 70 years of existence and places the CPGA in the broader context of the market’s growth of the world of contemporary art.

The book is now available from all good bookstores.

BUY THE BOOK HERE: http://www.editions-hazan.fr/livre/le-comite-professionnel-des-galeries-dart-70-ans-dhistoire-1947-2017-9782754109710

New Book out now: Markt und Macht. Der Kunsthandel im »Dritten Reich«

Markt und Macht. Der Kunsthandel im »Dritten Reich«

Ed. Fleckner, Uwe; Gaehtgens, Thomas W. and Huemer, Christian
Series: Schriften der Forschungsstelle “Entartete Kunst” 12
xvi, 434 pages
Language: German, English

Buy the book here – Markt und Macht

Die Geschichte des Kunsthandels im “Dritten Reich” zu schreiben, steht nicht nur aufgrund einer schwierigen Quellenlage vor besonderen Herausforderungen. Zwischen Komplizenschaft und Sabotage verstrickt sich das Handeln der Akteure in eklatante Widersprüche. Vom Alltagsgeschäft der Kunsthändler bis zum Widerstand gegen restriktive Vorschriften reicht das Themenspektrum, vom Auktionshandel bis zum Schwarz- und Schattenmarkt, von zahllosen Verbrechen nicht nur an jüdischen Sammlern und Händlern bis zum Kunstraub in den von deutschen Truppen besetzten Ländern. Kunst- und Wirtschaftshistoriker untersuchen in diesem Buch den Kunstmarkt und seine Mechanismen im Nationalsozialismus, die Rolle der Raubkunst sowie insbesondere moderner und “entarteter” Werke auf dem Kunstmarkt im “Dritten Reich”.

Book out soon: Anke Matelowski, Die Berliner Secession 1899-1937. 

Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal

 

Anke Matelowski. Die Berliner Secession 1899-1937. Chronik, Kontext, Schicksal
24 x 17 cm, ca. 650 Seiten, 400 Abbildungen.
Fadenheftung, Lesebändchen, Halbleinen
Euro 68.00 / CHF 75.00 ISBN 978-3-03850-033-9

out in October 2017

 

As much as the myth adheres to the Berlin Secession of being the birthplace of “Classical Modernism” in Germany, it is, likewise, a relatively little researched subject. As a matter of fact, neither its date of foundation nor its dissolution has been established so far. The best known protagonists of the Berlin Secession were Max Liebermann, Walter Leistikow, Lovis Corinth and Max Slevogt and their merit was to bring Impressionism to Germany in the years heavy with imperial, representational subjects and, thus, to begin a new era for art in Germany. With the dissolution of the Secession in the Spring of 1913, however, the role seemed exhausted after a splendid dozen years.

About the time of the Berlin Secession after 1913 little is known. In her study, Anke Matelowski now closes this gap. From largely unknown sources, she has been able to establish the founding history of the Secession as well as the years of the First World War, the Weimar Republic until the time of National Socialism. Great detail is paid to the various aspects of this history: the exhibitions, membership structure, buildings and premises available to the association, its relationship with local authorities and towards official art policies, cooperations with other artists’ associations, strategies for coping with political and economic crises, etc.

Matelowski supplements her account with extensive lists, which provide reliable data about members, board members and exhibitions for the first time. Similarly, she provides information about the groupings that split from, competed or co-operated with the Secession. The work sets a new standard for the most important modernist art association in modern Germany.

Source: verlag@nimbusbooks.ch, www.nimbusbooks.ch

Book presentation and panel discussion (Berlin, 20 Sept, 17)

Panel discussion of the forthcoming research on the foundation of the Gemäldegalerie with Bénédicte Savoy, Neville Rowley, and Robert Skwirblies on the occasion of the new publication:

Robert Skwirblies. Altitalienische Malerei als preußisches Kulturgut Gemäldesammlungen, Kunsthandel und Museumspolitik 1797–1830. Ars et Scientia, 13. Berlin/Boston: De Gruyter, 2017.

Location: Central Hall of the Gemäldegalerie, Kulturforum, Berlin
Date: 20 September 2017, 6.30pm

On the podium:

Welcome:

Moderation

  • Sarah Salomon, Research Assistant at Gemäldegalerie and Skulpturensammlung

Download:

 Partner

Logos_Altitalienische Malerei_2_mit Rahmen

 

Book Out Now: Lynn Catterson ed., Dealing Art on Both Sides of the Atlantic, Brill

A Discount Code for this second book in the HCAM series is available to all TIAMSA members.
Please log in and find the Discount Code for Brill post in the Members’ Only Section.

Flyer Dealing Art (.pdf)