Made in Mexico introduces us to the people, places, and ideas that create Zapotec textiles and give them meaning. From Oaxaca, where guides escort tourists to weavers' homes and then to the shops and
Now available in paperback for the first time, this study of the modern London art market establishes the central importance of London for the development of the modern retail market in fine art. Lead
Volume III in the 'Studies in the History of Collection' series, published in association with the Beazley Archive in the University of Oxford. 14 papers on The Mechanisms of the Art Market 1660-1830
This 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. Sele
This 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. Sele
This book scrutinizes the excesses and extravagances that the 21st-century explosion of the contemporary art market brought in its wake. The buying of art as an investment, temptations to forgery and
This book gives a comprehensive account of the history and underlying economics of the modern art market in eighteenth- and nineteenth-century Britain.
Modern viewers take for granted the pictorial conventions present in easel paintings and engraved prints of such subjects as landscapes or peasants. These generic subjects and their representational c
The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite t
This book provides a new perspective on Sienese painting after the Black Death, asking how social, religious, and cultural change affect visual imagery and style. Judith Steinhoff demonstrates that Siena's artistic culture of the mid and late fourteenth century was intentionally pluralistic, and not conservative as is often claimed. She shows that Sienese art both before and after the Black Death was the material expression of an artistically sophisticated population that consciously and carefully integrated tradition and change. Promoting both iconographic and stylistic pluralism, Sienese patrons furthered their own goals as well as addressed the culture's changing needs. Steinhoff presents both detailed case studies as well as a broader view of trends in artistic practice and patronage. She offers a new approach to interpreting artistic style in the Trecento, arguing that artists and patrons alike understood the potential of style as a vehicle that conveys specific meanings.
In 2014 there were over 300,000 companies involved in the world's art market, employing around 2.8 million people, and applications to undergraduate and postgraduate degree courses are at an all-time
In an era when American artists didn't count and women were expected to stay home, Edith Gregor Halpert burst onto the fledgling New York gallery scene, defying all cultural and societal rules. In
Japonisme, the nineteenth-century fascination for Japanese art, has generated an enormous body of scholarship over the last twenty years, but most of it neglects women, who also acquired objects from
Showcasing diverse methodologies, this volume illuminates London’s role in the development of a European art market at the turn of the nineteenth century. In the late 1700s, as the events of the Frenc
