Marketing Modernism In Fin De Si Cle Europe

In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters. In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Since the Enlightenment, French theatre has occupied a prominent place within French thought, society and culture, but as a subject of study it has remained a purview of theatre historians, literary scholars and aestheticians. They focus on the emergence of the modern theatre as change generated from within bourgeois literary drama but ignore theatre as a complex social practice. Theatre, Politics, and Markets in Fin-de-Siècle Paris investigates the dynamic relationships among the avant-garde, official culture and the commercial sphere, arguing against the neat divide of 'high' and 'low' culture by showing how cultural forms of varying social origins influenced each other.

Foreign Currency Volatility and the Market for French Modernist Art examines how the collapse of the French franc in the decades following the First World War impacted the supply and demand dynamics of the market for French modernist art.

In a work that brings new insights, and new dimensions, to the history of modern art, David Galenson examines the careers of more than 100 modern painters to disclose a fascinating relationship between age and artistic creativity.

A cultural history of the first truly modern art market, Marketing Art in the British Isles, 1700 to the Present furthers the burgeoning exploration of Britain's struggle to carve a niche for itself on the international art scene. Bringing together scholars from the UK, US, Europe, and Asia, this collection sheds new light on such crucial notions as the internationalization of the art market; the emergence of an increasingly complex exhibition culture; issues of national rivalry and emulation; artists' individual and collective strategies for their own promotion and survival; the persistent anti-commercialism of an elite group of art lovers and critics and accusations of philistinism levelled at the middle classes; as well as an unquestionable native British genius at reconciling jarring discourses. Essays explore the unresolved tension between artistic aspirations and commercial interest - a tension that has come to shape Britain's national artistic tradition - from the perspectives of artists, dealers and (super-) collectors, and the upwardly mobile middle classes whose consumerism gave rise to the British art market as it is known today. Specific case studies include Whistler, Roger Fry, Damien Hirst, and Charles Saatchi; essays consider art markets from London and Manchester to Paris and Flanders.

Fin-de-siècle Vienna remains a central event in the birth of the century's modern culture. Our understanding of what happened in those key decades in Central Europe at the turn of the century has been shaped in the last years by an historiography presided over by Carl Schorske's Fin de Siècle Vienna and the model of the relationship between politics and culture which emerged from his work and that of his followers. Recent scholarship, however, has begun to question the main paradigm of this school, i.e. the "failure of liberalism." This volume reflects not only a whole range of the critiques but also offers alternative ways of understanding the subject, most notably though the concept of "critical modernism" and the integration of previously neglected aspects such as the role of marginality, of the market and the larger Central and European context. As a result this volume offers novel ideas on a subject that is of unending fascination and never fails to captivate the Western imagination.

This is a comprehensive survey of European history from the coup d'etat of Napoleon Bonaparte in France to the assassination of the Archduke Ferdinand at Sarajevo, which led to the First World War. It concentrates on the twin themes of revolution and nationalism, which often combined in the early part of the century but which increasingly became rival creeds. Going beyond traditional political and diplomatic history, the book incorporates the results of recent research on population movements, the expansion of markets, the accumulation of capital, social mobility, education, changing patterns of leisure, religious practices, and intellectual and artistic developments. The work falls into three chronological sections. The first, starting in 1800 (rather than the more usual 1815) follows the build-up of the revolutionary currents which were eventually going to erupt in the `Year of Revolutions' 1848. The second, from 1850 to 1880, deals with the golden age of capitalism, the successful culmination of struggles for national unification, and the threat of anarchism. The concluding chapters look at the social and political stresses caused by socialism and national minorities, at new attempts by government to order society, imperial rivalry, and the descent into a war which was to mark the end of nineteenth-century Europe. For this third edition, Dr Gildea has substantially revised the text and maps, and completely updated the bibliography. Newly-added introductory sections guide the reader through the wealth of material in each chapter. The new edition also includes for the first time a full Chronology of the period, a list of leading state ministers, and family trees for all the major dynasties.

An authoritative re-definition of the social, cultural and visual history of the emergence of the “avant-garde” in Paris and London Over the past fifty years, the term "avant-garde" has come to shape discussions of European culture and modernity, ubiquitously taken for granted but rarely defined. This ground-breaking book develops an original and searching methodology that fundamentally reconfigures the social, cultural, and visual context of the emergence of the artistic avant-garde in Paris and London before 1915, bringing the material history of its formation into clearer and more detailed focus than ever before. Drawing on a wealth of disciplinary evidence, from socio-economics to histories of sexuality, bohemia, consumerism, politics, and popular culture, David Cottington explores the different models of cultural collectivity in, and presumed hierarchies between, these two focal cities, while identifying points of ideological influence and difference between them. He reveals the avant-garde to be at once complicit with, resistant to, and a product of the modernizing forces of professionalization, challenging the conventional wisdom on this moment of cultural formation and offering the means to reset the terms of avant-garde studies.