Economic engagements with art
Author(s)
Bibliographic Information
Economic engagements with art
（History of political economy : annual supplement, v. 31）
Duke University Press, 1999
- : cloth
- paper
Available at / 37 libraries
-
No Libraries matched.
- Remove all filters.
Note
Includes bibliographical references and index
Description and Table of Contents
- Volume
-
paper ISBN 9780822324898
Description
Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist's profession and of the painting itself. Also in this section is an essay on Rousseau's perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.
Contributors. Marcia Balisciano, William J. Barber, Neil de Marchi, Bertil Friden, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarines Negron, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney
Table of Contents
CONTENTS Introduction Neil De Marchi & Craufurd D Goodwin, Duke University Part I Art and Economic Theory - Francisco Pacheco: Economist for the Art World Zarines Negron, Duke University The Problem of Unique Goods as Factors of Production: Rousseau on Art and the Ecomony Bertil Friden, Chalmers Technical Univesity Obscure Objects of Desire?: Nineteenth-Century British Economists and the Price(s) of 'Rare Art' Michael V White, Monash University Pacifying the Workman: Ruskin and Jevons on Labor and Popular Culture Harro Maas,University of Amsterdam Jevon's Music Manuscript and the Political Economy of Music Bert Mosselmans & Ernst Mathijs, University of Brussels The Economics of Art through Art Critics' Eyes Craufurd D Goodwin, Duke University Part II Art and Economic Policy - Art Exports and the Construction of National Heritage in Late-Victorian and Edwardian Britain Helen Rees, University of Manchester International Commerce in the Fine Arts and American Political Economy 1789-1913 William J Barber, Wesleyan University 'Sweet Are the Uses of Adversity': Federal Patronage of the Arts in the Great Depression William J Barber, Wesleyan University Positive Science, Normative Man: Lionel Robbins and the Political Economy of Art Marcia Balisciano, London School of Economics & Steven G Medema, University of Colorado Economy Architecture and Politics: Colonialist and Cold War Hotels Annabel Wharton, Duke University Part III The Business of Art - The Economics of Art in Early Modern Times: Some Humanist and Scholastic Approaches Toon van Houdt, Katholieke Universiteit Leuven Liberalitas, Magnificentia, Splendor: The Classic Origins of Italian Renaissance Lifestyles Guido Guerzoni, University Bocconi Ingenuity, Preference and the Pricing of Pictures: The Smith-Reynolds Connection Neil de Marchi & Hans J Van Miegroet, Duke University Production and Reproduction: Commerce in Images in Late -Eighteenth-Century London Sara Zablotney, Duke University Dealer in Magic: James Cox's Jewelry Museum and the Economics of Luxurious Spectacle in Eighteenth-Century London Marcia Pointon, University of Manchester 'Seeing is Believing' Otto Nuerath, Graphic Art and the Social Order Robert J Leonard, University of Quebec
- Volume
-
: cloth ISBN 9780822326328
Description
Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline. This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist's profession and of the painting itself.
Also in this section is an essay on Rousseau's perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during the Depression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.
Table of Contents
Contributors Marcia Balisciano, William J. Barber, Neil de Marchi, Bertil Friden, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarines Negron, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney
by "Nielsen BookData"