Pioneers of the global art market : Paris-based dealer networks, 1850-1950
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Bibliographic Information
Pioneers of the global art market : Paris-based dealer networks, 1850-1950
（Contextualizing art markets）
Bloomsbury Visual Arts, 2022
- : pbk
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Note
"First published in Great Britain 2020. This paperback edition first published in 2022" -- T.p. verso
Includes bibliographical references and index
Description and Table of Contents
Description
By the turn of the 20th 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 It includes unpublished material, concrete examples, bibliographical and archival references, and appeals to students, academics, curators, educators, dealers, collectors, artists and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.
Table of Contents
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, Verane Tasseau (Independent Scholar, France), translated by Celia Abele
6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Leonce 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, Yaelle 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 Lefevre, 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: Rene 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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