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Masterpieces and Markets Why the Most Famous Modern Paintings Are not by American Artists David W. Galenson.

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Presentation on theme: "Masterpieces and Markets Why the Most Famous Modern Paintings Are not by American Artists David W. Galenson."— Presentation transcript:

1 Masterpieces and Markets Why the Most Famous Modern Paintings Are not by American Artists David W. Galenson

2 Art history After the Second World War, the cultural center of the West shifted from Paris to New York Compare artists born between 1819 and 1900 who lived and worked in France with artists born between 1900 and 1940 who lived and worked in the United States

3 A quantitative definition of “masterpieces” Citation index Art historians are more selective in their use of illustrations because of higher cost involved – Expense of printing photographs – Cost of obtaining permission to reproduce Sources: 29 books

4 Who are the masters? Ranking artists by their total illustrations – Picasso (343) – Matisse (159) – Manet (93) – Duchamp (85) – Gauguin (83) – Pollock (69) Pollock (69) – Johns (60) Johns (60) – Courbet (52) – Warhol (52) Warhol (52) – Rauschenberg (46) – Seurat (46)

5 Masters vs. Masterpieces Market institutions France: the government’s Salon – 1881, government sponsorship ended – 1884, Societe des artistes Independants – 1890, Societe Nationale des Beaux-Arts – 1903, Salon d’Automne US: one-man show in a gallery

6 Change of the artist’s task France: competition for audience’s attention in a crowded exhibition US: to produce a body of work that would impress critics and collectors

7 Newman: I think a man spends his whole lifetime painting one picture. Pollock’s career is understood as having had a plateau rather than a peak. Warhol generally conceived and presented new works as ensembles, a single work removed from its original setting operates at a loss. Warhol generally conceived and presented new works as ensembles, a single work removed from its original setting operates at a loss.

8 Conclusion The study of market conditions is central to an understanding of the history of modern art.

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