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The annals of art impresario and art star figures operating for an extensive 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 in line with the tastes of art patrons, these were those who played a part in shaping tastes. At once, 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 arrange themselves and create their own 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 go back to the founding of Burlington House, which hosted the Royal Academy exhibitions; The two opposite poles representing the artist’s attitude towards the market are summarized in what of two men who lived in the 18th century. “Art cannot be made where money appears,” wrote William Blake, the fierce but weak enemy of Sir Joshua. Samuel Johnson in another pole is around wholesaler as Blake: “No one, except fools, wrote anything but money.”
It is advantageous to consider the truth somewhere within those two poles, most likely the pole represented by Johnson rather than Blake will outweigh. The fact remains, I could become art in places where money manifests itself. The proven fact that money, patronage, and trade automatically pollute the fountains of imagination is just a sophisticated mythic – 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 wouldn’t have existed without an individual who taken care of them – and paid well. Picasso had become a millionaire in 40, but this did not need a negative affect his artistry. On another hand, there are such painters whose names I will leave to your imagination that even if they’re 30 millionaires, there may be no positive development within 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 because of the art market, because of the lack of self-interest and loss in self-confidence. Generally speaking, money benefits artists a lot more than harm. Nobody believes anymore that the grappling with the creditors who train on cold water and dry bread and depend on the door feeds the artist; Just like the belief that beating is a great breeding method, this belief almost lost its judgment.
So now I’m not likely to repeat you a scenario that we have now been told by new conservatives and we’re already acquainted with: 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 setup about poor people who made their food scorecards in vodka and received social aid allowances. Needless to say, both of these foundations spend unnecessary costs because cost efficiency is difficult in regards to works of art. It can also be true that a few of the products they support attract the minority taste and are liked by an elite group. However, the National Arts Foundation, as far as I understand, does not pay taxpayers $ 433.45 for a screwdriver or $ 1700 for a metal ladder, since the Ministry of Defense does; moreover, what we call war – a sophisticated sophist – is a community appreciation that appeals to the taste of an elite. So my main intention listed here is not how a 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 within the last 25 years.
The church largely left its place to the museum as a symbolic focus of the American city. Museums are now converted into low-cost mass media. With this transformation, museums adopted the strategies of other mass media, partly beneath 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 the unprecedentedly broad audience, or rather, they believe so.