The Chiaroscuro Market

A New York Times Best Art Book of 2018 The art of the chiaroscuro woodcut is celebrated in this groundbreaking and generously illustrated book. Chiaroscuro woodcuts are among the most immediately appealing of all historic prints, displaying exquisite invention, refined draftsmanship, technical virtuosity, and sumptuous color. Printing two or more woodblocks inked in different tones to create an image, the chiaroscuro woodcut was the earliest, most successful foray into color printing in Europe. Following its invention in Germany, the technique was first adopted around 1516 in Italy where it flourished through the sixteenth century. This novel art form engaged the interests of the most celebrated artists of the Renaissance, including Titian, Raphael, Parmigianino, and Beccafumi, and underwent sophisticated developments in the hands of such master printmakers as Ugo da Carpi, Antonio da Trento, Niccolò Vicentino, and Andrea Andreani. Featuring more than 100 prints and related drawings, this book incorporates pioneering art historical research and scientific analysis to present a comprehensive study of the subject. Essays trace its creative origins and evolution, describing both materials and means of production. Brimming with full-color illustrations of rare and beautiful works, this book offers a fresh interpretation of these remarkable prints, which exemplify the rich imagery of the Italian Renaissance. Published in association with the Los Angeles County Museum of Art

The global art market has recently been valued at close to $50bn - a rise of over 60% since the global financial crisis. These figures are driven by demand from China and other emerging markets, as well as the growing phenomenon of the artist bypassing dealers as a market force in his/her own right. This new textbook integrates, updates and enhances the popular aspects of two well-regarded texts - Understanding International Arts Markets and The Art Business. Topics covered include: Emerging markets in China, East Asian, South East Asian, Brazilian, Russian, Islamic and Indian art, Art valuation and investment, Museums and the cultural sector. This revitalized new textbook will continue to be essential reading for students on courses such as arts management, arts marketing, arts business, cultural economics, the sociology of arts, and cultural policy.

Universities have never been static. Even so, it is fair to say they have experienced a most radical transformation in the past twenty years. During this period, the role and responsibility of the state generally have been broadly limited while allowing ‘market forces’--private ownership and control--more influence. But even where the state is still the main provider or funder, it relies increasingly on ‘market mechanisms’, for example contractual relations between state and institutions, competition among providers for resources, and external assessment of ‘outputs’ which means the results or impact of what universities do, in particular teaching and research. The new terminology speaks of price and competition, inputs and outputs, resources, cost and benefits, demand and supply, provider and customer, consumers and investors, quality control and accountability. Education, and post-secondary education especially are increasingly seen as matters for markets. Formal post-secondary education becomes a service, commercialized and traded across national borders. This volume on changing relationship between state and market, contains, besides an introductory analytic overview of the issues, accounts from different countries, regions, and thematic perspectives. Chapter authors describe and analyze government reforms and other developments that have directly or indirectly affected this relationship. Although the geographical focus is on North America, especially Mexico, South East Asia and Europe, the phenomenon is not limited to these regions and countries but worldwide.

In Printing Colour 1400–1700, Ad Stijnman and Elizabeth Savage offer the first handbook of early modern colour printmaking before 1700 (when most such histories begin), creating a new, interdisciplinary paradigm for the history of graphic art.

The rapidly changing and evolving art market might appear to be chaotic to the casual observer, with new highs, potential lows, and tastes and fashions changing season to season. Economists, however, view the actions of buyers and sellers as constituting an identifiable market. They have, for some decades, studied such issues as artistic productivity and "death effects" on prices, investment returns, and on the basis of the behavior and estimated prices in auction markets. The Economics of American Art analyzes the most pervasive economic issues facing the art world, applied to the whole spectrum of American art. The book begins by looking at how a market for American art developed, how the politics of the post-war era shaped, at least in large part, the direction of American art, and how this legacy continues into contemporary art today. The book then tackles several salient, integral questions animating the American art world: Are age and "type" of artist (i.e. traditional or "innovative") related and, if so, how might they be related to productivity? Is investment in American art a remunerative endeavor compared to other investment possibilities? Do economic insights provide understanding of fakes, fraud and theft of art, particularly American art, and is it possible to prevent art crime? Is there is a boom (or a bust) in the market for contemporary American art as might be found in other markets? The ongoing evolution of American art is attended by a massive number of influences, and the economic concepts employed in this volume will complement other critical and important cultural studies of art. Both practical and accessible, The Economics of American Art will be essential for collectors, auction houses, American art experts of all kinds, museums, gallery owners and, not least, by economists with continuing scholarly interests in these matters.

These unique essays focus primarily on Woolf's non-fiction and considers her in the context of the modernist marketplace. With research based on new archival material, this volume makes important new contributions to the study of the 'gift economy.'