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1.
Age curves, which relate age to creativity or exceptional achievements, seem to take two forms: some artists bloom early (Picasso), others later in life (Cézanne). We argue that this objective fact is not related to their mode of creation according to which some artists proceed by drawings made prior to the painting's execution, while others are more likely to imitate and achieve this through color and the process of painting itself.
JEL numbers:Z10,Z11A very preliminary version of this paper was presented as a discussion at the conference Measuring Art: A Scientific Revolution in Art History, University of Chicago and American University of Paris, June 2003. 相似文献
2.
Christiane Hellmanzik 《Journal of Cultural Economics》2009,33(3):201-232
This paper is based on a global sample of the 214 most prominent modern visual artists born 1850–1945. Two analytical methods
are used to analyse the age at which artists produce their best works—one based on year-of-birth cohorts of modern visual
artists and the other on stylistic groups. The cohort-analysis shows that the career patterns develop similarly over time
for artists working in the USA and Europe; over time the artists’ peak ages first increase, reach their maximum for artists
born between 1890 and 1909, and then decrease again. The study of stylistic groups shows that artists associated with Fauvism,
the Nabis and Post-Impressionism experience an early peak, whereas artists associated with Surrealism, Impressionism, Abstract
Expressionism, Art Informel, Pop Art, Expressionism and Cubism peak later in their careers.
相似文献
| Christiane HellmanzikEmail: |
3.
Albert Namatjira (1902–1959), Emily Kame Kngwarreye (c1910–1996) and Rover (Julama) Thomas (c1926–1998) are three of Australia’s best-known Indigenous artists. Each is known for one style of painting—Namatjira for watercolor on paper, Kngwarreye for acrylic (synthetic polymer) on canvas and Thomas for natural earth pigments on canvas. We estimate a sample selectivity model using data from the Australian Art Sales Digest to study the determinants of sales and the hammer price of artworks offered at auction from these artists. The results show that pre-sale information on the artwork and auction effects are significant and that the three artists studied are very different from each other. Thus, data should not be pooled when estimating these models. 相似文献
4.
This study concentrates in part on the market of fine arts. First, fine arts will be defined from a marketing point of view and peculiarities in the market of fine arts will be analysed empirically and theoretically. Certain aspects of marketing theory are discussed regarding their significance for the fine arts. Results of an empirical study of galleries and artists will be presented. It will be shown, whether and how artists are involved in marketing, how successful they are and what prerequisites to marketing the artists have. 相似文献
5.
Private or Public? 总被引：1，自引：1，他引：0
This paper concerns the consequences of subsidizing art production. Once a government offers grants and subsidies, artists can decide between public and private funding. A joint model of this choice-situation and the related earnings is derived. The model is tested for the case of visual artists in the Netherlands. The analyses show that subsidizing artists enhances a winner-takes-all tendency for the market at large. Financial success on both the private and the public market appears to be not particularly related to human capital, but to personal characteristics, government recognition and (unobserved) talents. 相似文献
6.
This paper proposes a price index for artists adjusted for the quality of the paintings, based on the ratio between the average market price and the average pre-sale estimate for paintings. We apply this methodology to a group of selected artists and schools presented in auctions worldwide in the period 1990–2001. A comparison with quality unadjusted and hedonic indices is also conducted.JEL Classification: C10, Z11 相似文献
7.
9月15日,在江苏南京举行了第八届中国曲艺牡丹奖揭晓暨颁奖系列活动新闻发布会。公布了七大项共51个奖项。让人惊喜的是,其中有四席获奖者来自浙江,他们是＂杭州滩簧＂牡丹奖节目奖《美丽的眼睛》表演者冯小娟、朱丽君;浙江省非物质文化遗产温州鼓词代表性传承人陈忠达;另两位则是刚刚三十出头、崭露头角的＂新人奖＂得主,杭州滑稽艺术剧表演家董其峰和绍兴莲花落表演家施金裕。作为中国曲艺界的国家级最高奖项,两年评选一届的牡丹奖含金量非常高,有人称之为＂曲艺界的奥斯卡＂。是什么力量,让浙江曲艺发展花团锦簇;又是什么力量,让浙江的年轻表演者人才辈出？带着这样的问题。 相似文献
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Walter Santagata 《Journal of Cultural Economics》1995,19(2):187-197
This paper analyses two anomalies of the contemporary art market and the institutions created in order to allow the market to develop. The first anomaly concerns the incomplete specification of property rights in the market of successful artists. The second one originates with the lack of credibility, or time consistency, that characterises the relationships between young artists and gallery owners. 相似文献
10.
William M. Landes 《Journal of Cultural Economics》2001,25(4):283-306
This paper presents an economic analysis of the Visual Artist's Rights Act of 1990 (VARA) which provides attribution and integrity rights, commonly called moral rights, for defined types of artistic works. The paper shows that these laws may actually harm artists by adding contracting and transaction costs in the art market. For most works, these costs will be trivial because collectors have a strong self-interest in preserving works in good condition. These costs are more likely to be significant, however, for works subject to destruction or alteration in the future, such as site-specific works and works installed in buildings, because purchasers will require waivers rather than risk violating the Act. The paper also examines the few cases that have been litigated under VARA. Consistent with the economic model, these cases involve large-scale works by relatively unknown artists that have been destroyed by building projects. Finally, the paper presents an empirical analysis of state moral rights laws. Nine states enacted these laws prior to VARA. These laws had no significant effect on artist earnings but a positive and significant effect on the number of artists living and working in the state. 相似文献
11.
Michael Rushton 《Journal of Cultural Economics》2001,25(4):243-257
This paper provides an overview of the economic analysis of inalienability, here defined in the narrow sense of restrictions on whether and how ownership of a right may be transferred to someone else. It then considers three aspects of the laws relating to artists and their works that are subject to some inalienability restrictions: droit de suite, moralrights, and unconstitutional conditions. It is suggested that inalienability restrictions designed to achieve distributional goals are probably misguided, and that although in theory one could derive some efficiency arguments for inalienability rules, in practice it is not clear that they apply to these examples from the laws relating to artists. 相似文献
12.
2014年元旦,书画家蔡云飞先生书画作品展暨《浙东唐诗之路》及《长征万里图》长卷首展在绍兴美术馆举行,给节日的文化名城增添了一抹亮丽的色彩。展会上,他的《浙东唐诗之路》受到行家和观众的啧啧称赞。 相似文献
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Andrea Ordanini 《Journal of Cultural Economics》2006,30(3):183-200
The is article analyses the two main approaches for artists’ selection in the recording industry: the direct model in which large major companies directly choose new artists from the supply market, and the agency model in which small independent labels realise the first choice and, subsequently, large organisations pick their new artists among those pre-selected by independents.An empirical analysis of chart sales reveals that artists selected through the agency model exhibit a longer presence on the chart due to repeated successes, while they are slower to reach heavy success once they have entered the chart. Conversely, the direct model leads to artists with a faster path to a strong success, but the same artists have a shorter presence on the chart due to the sporadic nature of their success. The profile of artists selected through these two models is also found to be different: big international soloist stars are more frequently selected through the direct model, while national bands are more frequently selected through the agency model.The insights suggest important implications for management in the cultural industries and especially in the recording industry.
Jel Codes: L82; O32 相似文献
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Ünsal Özdilek 《Journal of Cultural Economics》2013,37(2):203-223
Paintings are in essence about visual features of varying significance from which differences in their market prices originate. Studies normally investigate derivative sources of painting price determinants, which is reasonably understandable because the appreciation of an image is quite subjective. This paper provides an operational solution to the quantification of paintings based on a new concept termed as “visual autocorrelation” of prices (VAP). Considering the current empirical framework of spatial and temporal autocorrelation of prices, and using data on the paintings of two abstract expressionist artists, empirical results support the coherence of the VAP concept. 相似文献
17.
一位年轻的小伙子顶起两个亮晶晶的不锈钢圈,上下圈子里两个小姑娘正在做着“燕子飞翔”的动作,姿态美极了。这就是获“金K奖”的“头顶圈”节目。 相似文献
18.
Brinja Meiseberg 《Journal of Cultural Economics》2014,38(1):9-42
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well. 相似文献
19.
加拿大蒙特利尔市是一座有着＂北美小巴黎＂之称的历史文化名城。秋天,正是满目红枫叶的季节,10月2日,来自中国美术学院的＂枫墨缘＂师生书画邀请展在加拿大魁北克孔子学院亮相。展览一共由60幅国画、50件书法作品组成,国画参展作品包括吴山明、尉晓榕、张谷曼、舒传曦、何加林、卢坤峰等知名画家的人物、山水、花鸟画。展览开幕式由道森学院院长、魁北克孔子学院理事会主席Richard Filion主持,中国驻蒙特利尔总领馆教育参赞翟建军为展览致贺词。 相似文献
20.
浙江7000年的历史奏出“万古悠韵”,浙江的山水风物铺陈出“千山竞秀”,1840年至今的浙江现实讲述出“百年浙潮”……8月9日,一场视觉盛宴在新开馆的浙江美术馆上演,“历史的凝眸·浙江历史文化重大题材美术作品大展”在此开幕并举行颁奖晚会。113件美术精品与一场声、光、乐、电、舞结合的演出相映生辉,为历时3年半的浙江重大题材美术创作工程展开了宏伟的叙说。 相似文献