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Author:   Christel H. Force (Independent scholar, USA)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Bloomsbury Visual Arts
Edition:   NIP
Weight:   0.698kg
ISBN:  

9781350282841

ISBN 10:   1350282847
Pages:   312
Publication Date:   19 May 2022
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   To order  
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Table of Contents

List of Plates List of Figures Series Editor’s Introduction Acknowledgements 1. Introduction: Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950, Christel H. Force (The Metropolitan Museum of Art, USA) 2. Parisian Dealers and the American Market, 1860–1920, Paolo Serafini (Sapienza Universita di Roma, Italy), translated by Angelica Modabber 3. Old and New Worlds: Durand-Ruel and the International Market for Impressionism, Jennifer A. Thompson (Philadelphia Museum of Art, USA) 4. Moving Mountains: Paris-Based Dealers and the Economics of Translocation, David M. Challis (Melbourne University, Australia) 5. Daniel-Henry Kahnweiler’s International Partnerships, 1907-1937, Vérane Tasseau (Independent Scholar, France), translated by Celia Abele 6. Promoting Modernism in the 1920s: The Art Journals of Paul Guillaume, Léonce Rosenberg, and Alfred Flechtheim, Ambre Gauthier (Marc Chagall Foundation, Paris, France) 7. Paul Guillaume, Marius de Zayas and African Arts: A Transatlantic Partnership, 1914–1923, Yaëlle Biro (The Metropolitan Museum of Art, USA) 8. The Thannhauser Galleries: Forming International Alliances in an Era of Change, Valerie Nikola Ender (University of Cologne, Germany) 9. “A Viking sailing over the savage sea, far, far to the north”: Walther Halvorsen, Christel H. Force (The Metropolitan Museum of Art, USA) 10. When French Dealers “Turned their Eyes Towards Scandinavia”: The Svensk-Franska Konstgalleriet in Stockholm, Christina Brandberg (University of Loughborough, UK) 11. The Galerie Paul Rosenberg and the American Market in the Interwar Era, MaryKate Cleary (New York University, USA) 12. International Dealer Networks and the Market for Impressionism in London and Glasgow: Etienne Bignou, A.J. McNeill Reid, and Ernest Lefèvre, Frances Fowle (University of Edinburgh, UK) 13. Etienne Bignou: The Gallery as Antechamber of the Museum, Christel H. Force (The Metropolitan Museum of Art, USA) 14. Capricious Cohorts: René Gimpel’s Associates, Rivals, and Patrons Diana J. Kostyrko (Australian National University, Australia) 15. Valentine Dudensing and the Valentine Gallery: Selling the US on the School of Paris, Julia May Boddewyn (Independent Scholar, USA) 16. Conclusion, Veronique Chagnon-Burke (Christie’s Education, New York, USA) Author Biographies Index

Reviews

Without losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA * Through its emphasis on dealers’ strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK * Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA * The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume’s intelligent focus on Paris—then the pre-eminent hub for the trade in avant-garde art—leads to particularly revealing insights into the market’s complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) * Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews * [Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *

Without losing touch with the intimate, collaborative relationship of artist and dealer, Pioneers of the Global Art Market dissects the market for modern art to reveal the complex transactional networks that spanned the globe from the middle of the nineteenth century to the middle of the twentieth. In a series of authoritative studies, authors address central players in the market for contemporary European art, such as Paul Durand-Ruel and Daniel-Henry Kahnweiler, as well as less well-known figures like Paul Guillaume, whose cultivation of ties with French colonial officials opened markets for African art in Europe and America. * Michael FitzGerald, Professor of Fine Arts, Trinity College, USA * Through its emphasis on dealers' strategies, working in cooperation across national borders, this wide-ranging collection of essays makes an original and significant contribution to our knowledge of the processes through which art from France came to dominate the international canon of modern art. * Malcolm Gee, Visiting Fellow, Department of Arts, Northumbria University, UK * Drawing together an international team of scholars working across an impressive range of archival materials, this volume offers fresh and compelling analyses of the role of the art dealer in fostering the market for contemporary art produced in Paris c. 1850-1950, as well as the arts of Africa prized by modernists, revealing how dealers wove a transnational web of relations to create and sustain demand and value for this new art. For anyone interested in the fate of modernist art or strategies that have powered the global art market, this book is a must read. * Anne Helmreich, Associate Director, Getty Foundation, USA * The art market is not only driven by visionary dealers, it also relies on highly active networks that evolved in the course of an increasingly international exchange. Contrary to widespread assumptions, such networks are not a recent phenomenon: Pioneers of the Global Art Market unites a superb selection of engrossing case studies on how, between 1850 and 1950, dealers and other players in the art world forged and strengthened increasingly far-reaching personal and business connections. The volume's intelligent focus on Paris-then the pre-eminent hub for the trade in avant-garde art-leads to particularly revealing insights into the market's complex nervous system. As such, this highly stimulating book provides an excellent point of departure for a deeper understanding of the history of globalization. * Johannes Nathan, Chair, The International Art Market Studies Association (TIAMSA) * Dealer-centered, [this book] places diminished emphasis on overarching historical, national, social and critical structures that frame and inform the context of modern art. * Giovanna L. Costantini, Leonardo Reviews * [Pioneers of the Global Art Market] places a fresh emphasis on pragmatic, tactical, sometimes ad hoc cooperation between dealers, in particular across national borders. * Marie Tavinor, Review, The Society for the History of Collecting *

Author Information

Christel H. Force is an independent scholar, formerly Associate Research Curator in Modern and Contemporary Art at The Metropolitan Museum of Art (2005-2018). Prior to this, she held positions at The Museum of Modern Art (1990-2005) and the Solomon R. Guggenheim Museum. Force obtained an art history degree from the Université Libre de Bruxelles, completed her MA at McGill University in Montreal, was a fellow of the Whitney Museum of American Art’s Independent Study Program (Curatorial), and received her PhD in 2001 from the Graduate Center, City University of New York. Her areas of expertise are Impressionist and modern art, the history of collecting, the historical art market, and Holocaust-era provenance. Force frequently contributes to international conferences and symposia; she is a founding member of The International Art Market Studies Association, a trustee of Christie’s Education New York, and a Steering Committee member of the German/American Provenance Research Exchange Program for Museum Professionals.

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