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The history of art impresario and art star figures operating for a wide audience goes back to the 18th century. Art traders in Britain started initially to be important in the period between 1714-1830 – unlike antiquities who acted according to the tastes of art patrons, these were those who played a role in shaping tastes. At the same time, British and American artists, who envied the enormous entrepreneurial success of artists like Rubens and wanted to increase their status instead of being merely artisans, began to arrange themselves and create their particular markets. The institution they used for this purpose 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 marketplace 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 one other pole is as much as wholesaler as Blake: “Nobody, except fools, wrote anything but money.”
It is advantageous to look for the truth somewhere within these two poles, probably the pole represented by Johnson as opposed to Blake will outweigh. The stark reality is, I was able to 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 mythic – a fairy tale that some utopian leftists and several genius like Blake believed, but history clearly dictates. The works of Tiziano and Bernini, Piero della Francesca and Poussin, Reisener and Chippendale wouldn’t have existed without somebody who covered them – and paid well. Picasso had turn into a millionaire in 40, but this did not have a negative affect his artistry. On another hand, you can find such painters whose names I will leave to your imagination that even if they are 30 millionaires, there may be no positive development in their artistry. It is necessary to put in front of young star candidates, that are wandering around as if they are indispensable Indian fabrics and swollen enough to exceed their ego height as a result of the art market, due to the not enough self-interest and lack of self-confidence. Broadly speaking, 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 rely on the door feeds the artist; Similar to 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 scenario that people have already been told by new conservatives and we’re already knowledgeable about: the story of talent that unnecessarily spoils with great funds from the National Arts Foundation and the Humanities Foundation. Anyone who meets the conditions of the American culture knows that the reality share in this story doesn’t go beyond the fantasies that Ronald Reagan has create about the poor who made their food scorecards in vodka and received social aid allowances. Needless to say, these two foundations spend unnecessary costs because cost efficiency is extremely hard when it comes to works of art. It can also be true that a few of the products they support interest the minority taste and are liked by an elite group. However, the National Arts Foundation, as far as I am aware, doesn’t pay taxpayers $ 433.45 for a screwdriver or $ 1700 for a steel ladder, whilst the Ministry of Defense does; moreover, what we call war – a sophisticated sophist – is a community appreciation that interests the taste of an elite. So my main intention here’s not the way the money-art relationship affects the artist, but what effect it is wearing art audiences – inevitably a mass which includes artists and other art professionals, but has expanded tremendously in the last 25 years.
The church largely left its place to the museum as a symbolic focus of the American city. Museums are now actually converted into low-cost mass media. With this specific 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 believe so.