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By the turn of the twentieth century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city's galleries capitalized on foreign collectors' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the world-from Cassatt to Picasso-the contemporary-art market was…mehr
By the turn of the twentieth century, Paris was the capital of the art world. While this is usually understood to mean that Paris was the center of art production and trading, this book examines a phenomenon that has received little attention thus far: Paris-based dealers relied on an ever-expanding international network of peers. Many of the city's galleries capitalized on foreign collectors' interest by expanding globally and proactively cultivating transnational alliances. If the French capital drew artists from around the world-from Cassatt to Picasso-the contemporary-art market was international in scope. Art dealers deliberately tapped into a growing pool of discerning collectors in northern and eastern Europe, the UK, and the USA. International trade was rendered not just desirable but necessary by the devastating effects of wars, revolutions, currency devaluation and market crashes which stalled collecting in Europe.
Pioneers of the Global Art Market assembles original scholarship based on a close inspection of and fresh perspective on extant dealer records. It caters to an amplified curiosity concerning the emergence and workings of our unprecedented contemporary-centric and global art market. This anthology fills a significant gap in the expanding field of art market studies by addressing how, initially, contemporary art, which is now known as historical modernism, made its way into collections: who validated what by promoting and selling it, where, and how. It includes unpublished material, concrete examples, bibliographical and archival references, and should appeal to academics, curators, educators, dealers, collectors, artists and art lovers alike. It celebrates the modern art dealer as transnational impresario, the global reach of the modern-art market, and the impact of traders on the history of collecting, and ultimately on the history of art.
Christel H. Force is an independent scholar, formerly Associate Research Curator in Modern and Contemporary Art at The Metropolitan Museum of Art (2005-2018). Prior to this, she held positions at The Museum of Modern Art (1990-2005) and the Solomon R. Guggenheim Museum. Force obtained an art history degree from the Université Libre de Bruxelles, completed her MA at McGill University in Montreal, was a fellow of the Whitney Museum of American Art's Independent Study Program (Curatorial), and received her PhD in 2001 from the Graduate Center, City University of New York. Her areas of expertise are Impressionist and modern art, the history of collecting, the historical art market, and Holocaust-era provenance. Force frequently contributes to international conferences and symposia; she is a founding member of The International Art Market Studies Association, a trustee of Christie's Education New York, and a Steering Committee member of the German/American Provenance Research Exchange Program for Museum Professionals.
Inhaltsangabe
List of Plates List of Figures Series Editor's Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks 1850-1950 Christel H. Force (The Metropolitan Museum of Art USA) 2. Parisian Dealers and the American Market 1860-1920 Paolo Serafini (Sapienza Universita di Roma Italy) translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism Jennifer A. Thompson (Philadelphia Museum of Art USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation David M. Challis (Melbourne University Australia) 5. Daniel-Henry Kahnweiler's International Partnerships 1907-1937 Vérane Tasseau (Independent Scholar France) translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume Léonce Rosenberg and Alfred Flechtheim Ambre Gauthier (Marc Chagall Foundation Paris France) 7. Paul Guillaume Marius de Zayas and African Arts: A Transatlantic Partnership 1914-1923 Yaëlle Biro (The Metropolitan Museum of Art USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change Valerie Nikola Ender (University of Cologne Germany) 9. "A Viking sailing over the savage sea far far to the north": Walther Halvorsen Christel H. Force (The Metropolitan Museum of Art USA) 10. When French Dealers "Turned their Eyes Towards Scandinavia": The Svensk-Franska Konstgalleriet in Stockholm Christina Brandberg (University of Loughborough UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era MaryKate Cleary (New York University USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou A.J. McNeill Reid and Ernest Lefèvre Frances Fowle (University of Edinburgh UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum Christel H. Force (The Metropolitan Museum of Art USA) 14. Capricious Cohorts: René Gimpel's Associates Rivals and Patrons Diana J. Kostyrko (Australian National University Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris Julia May Boddewyn (Independent Scholar USA) 16. Conclusion Veronique Chagnon-Burke (Christie's Education New York USA) Author Biographies Index
List of Plates List of Figures Series Editor's Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks 1850-1950 Christel H. Force (The Metropolitan Museum of Art USA) 2. Parisian Dealers and the American Market 1860-1920 Paolo Serafini (Sapienza Universita di Roma Italy) translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism Jennifer A. Thompson (Philadelphia Museum of Art USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation David M. Challis (Melbourne University Australia) 5. Daniel-Henry Kahnweiler's International Partnerships 1907-1937 Vérane Tasseau (Independent Scholar France) translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume Léonce Rosenberg and Alfred Flechtheim Ambre Gauthier (Marc Chagall Foundation Paris France) 7. Paul Guillaume Marius de Zayas and African Arts: A Transatlantic Partnership 1914-1923 Yaëlle Biro (The Metropolitan Museum of Art USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change Valerie Nikola Ender (University of Cologne Germany) 9. "A Viking sailing over the savage sea far far to the north": Walther Halvorsen Christel H. Force (The Metropolitan Museum of Art USA) 10. When French Dealers "Turned their Eyes Towards Scandinavia": The Svensk-Franska Konstgalleriet in Stockholm Christina Brandberg (University of Loughborough UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era MaryKate Cleary (New York University USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou A.J. McNeill Reid and Ernest Lefèvre Frances Fowle (University of Edinburgh UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum Christel H. Force (The Metropolitan Museum of Art USA) 14. Capricious Cohorts: René Gimpel's Associates Rivals and Patrons Diana J. Kostyrko (Australian National University Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris Julia May Boddewyn (Independent Scholar USA) 16. Conclusion Veronique Chagnon-Burke (Christie's Education New York USA) Author Biographies Index
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