Pioneers of the global art market, Paris-based dealer networks, 1850-1950

Bloomsbury Visual Arts

2021

1 vol. (XVII-291 p.-[8] p. de pl.) ; ill. en noir et en coul., portr., fac-sim., couv. ill. en coul.

24 cm

anglais

978-1-5013-4276-9

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 It includes unpublished material, concrete examples, bibliographical and archival references, and should appeal to academics, curators, educators, dealers, collectors, artists and art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. (site éd.)
Au tournant du vingtième siècle, Paris était la capitale du monde de l'art. Si l'on entend généralement par là que Paris était le centre de la production et du commerce de l'art, ce livre examine un phénomène qui n'a guère été étudié jusqu'à présent : les marchands basés à Paris s'appuyaient sur un réseau international de confrères en constante expansion. De nombreuses galeries de la ville ont misé sur l'intérêt des collectionneurs étrangers en se développant à l'échelle mondiale et en cultivant de manière proactive des alliances transnationales. Si la capitale française a attiré des artistes du monde entier, le marché de l'art contemporain était d'envergure internationale. Les marchands d'art ont délibérément profité d'un cercle croissant de collectionneurs éclairés en Europe du Nord et de l'Est, au Royaume-Uni et aux États-Unis. Le commerce international était devenu non seulement opportun mais aussi nécessaire par les effets dévastateurs des guerres, des révolutions, des dévaluations monétaires et des krachs boursiers qui ont bloqué les collections en Europe. "Pioneers of the Global Art Market" réunit des études originales fondées sur un examen minutieux et un regard neuf sur les archives existantes des marchands.

1.) Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950/Christel H. Force --- 2.) Parisian Dealers and the American Market, 1860-1920/Paolo Serafini --- 3.) Old and New Worlds: Durand-Ruel and the International Market for Impressionism/ Jennifer A. Thompson --- 4.) Moving Mountains: Paris-Based Dealers and the Economics of Translocation/David M. Challis --- 5.) Daniel-Henry Kahnweiler's International Partnerships, 1907-1937/Vérane Tasseau --- 6.) Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim/Ambre Gauthier --- 7.) Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914-1923/Yaëlle Biro ---.
8.) The Thannhauser Galleries: Forming International Alliances in an Era of Change/Valerie Nikola Ender --- 9.) "A Viking sailing over the savage sea, far, far to the north": Walther Halvorsen/Christel H. Force --- 10.) When French Dealers "Turned their Eyes Towards Scandinavia": The Svensk-Franska Konstgalleriet in Stockholm/Christina Brandberg--- 11.) The Galerie Paul Rosenberg and the American Market in the Interwar Era/MaryKate Cleary --- 12.) International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre/Frances Fowle --- 13.) Etienne Bignou: The Gallery as Antechamber of the Museum/Christel H. Force --- 14.) Capricious Cohorts: René Gimpel's Associates, Rivals, and Patrons/Diana J. Kostyrko --- 15.) Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris/Julia May Boddewyn --- 16.) Conclusion/Veronique Chagnon-Burke..

Ressources documentaires

Musée national Picasso-Paris