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The real history of art impresario and art star figures operating for an extensive audience goes back to the 18th century. Art traders in Britain started to be important in the period between 1714-1830 – unlike antiquities who acted based on the tastes of art patrons, these were people who played a position in shaping tastes. At the same time, British and American artists, who envied the enormous entrepreneurial success of artists like Rubens and wanted to boost their status instead to be merely artisans, began to prepare themselves and create their own markets. The institution they used for this function was the Royal Academy, led by an Englishman (Sir Joshua Reynolds) and then an American (Benjamin West).
The roots of the art-money relationship today return to the founding of Burlington House, which hosted the Royal Academy exhibitions; The 2 opposite poles representing the artist’s attitude towards the market are summarized in the words of two men who lived in the 18th century. “Art cannot be made where money shows up,” wrote William Blake, the fierce but weak enemy of Sir Joshua. Samuel Johnson in another pole is around wholesaler as Blake: “No body, except fools, wrote anything but money.”
It is useful to look for the facts approximately both of these poles, possibly the pole represented by Johnson rather than Blake will outweigh. The stark reality is, I could become art in places where money manifests itself. The idea that money, patronage, and trade automatically pollute the fountains of imagination is really a sophisticated fairy tale – a mythic that some utopian leftists and a couple of genius like Blake believed, but history clearly dictates. The works of Tiziano and Bernini, Piero della Francesca and Poussin, Reisener and Chippendale would not have existed without someone who paid for them – and paid well. Picasso had become a millionaire in 40, but this did not need a negative impact on his artistry. On one other hand, you will find such painters whose names I will leave to your imagination that even if they are 30 millionaires, there may be no positive development inside their artistry. It’s necessary to set up front of young star candidates, who are wandering around as if they’re indispensable Indian fabrics and swollen enough to exceed their ego height because of the art market, due to the insufficient self-interest and lack of self-confidence. In most cases, money benefits artists a lot more than harm. No one believes anymore that the grappling with the creditors who train on cold water and dry bread and count on the entranceway feeds the artist; Just like the belief that beating is a great breeding method, this belief almost lost its judgment.
So now I am not going to repeat you a situation that individuals have been told by new conservatives and we are already familiar with: the story of talent that unnecessarily spoils with great funds from the National Arts Foundation and the Humanities Foundation. Anybody who meets the conditions of the American culture knows that the truth share in this story does not exceed the fantasies that Ronald Reagan has setup about the poor who made their food scorecards in vodka and received social aid allowances. Of course, these two foundations spend unnecessary costs because cost efficiency is not possible as it pertains to works of art. It can be true that a few of the products they support appeal to the minority taste and are liked by an elite group. However, the National Arts Foundation, so far as I understand, doesn’t pay taxpayers $ 433.45 for a screwdriver or $ 1700 for a steel ladder, as the Ministry of Defense does; moreover, what we call war – a sophisticated sophist – is a fraction appreciation that attracts the taste of an elite. So my main intention here’s not how the money-art relationship affects the artist, but what effect it has on art audiences – inevitably a large which includes artists and other art professionals, but has expanded tremendously in the last 25 years.
The church largely left its spot to the museum as a symbolic focus of the American city. Museums are now turned into low-cost mass media. With this transformation, museums adopted the strategies of other mass media, partly under the influence of transitions, partly intentionally: highlighting the magnificent show, cult of fame, masterpiece-treasure syndrome, etc. Only through these tools can museums retain the loyalty of their unprecedentedly broad audience, or rather, they think so.