Page History

Dalanda Jalloh

Response: 

During the period in which there was a decline of the French and British academies and a rise of the art dealer, it seems that there was a much bigger focus on the individual which spurned a new focus on the players in the art market, specifically the art dealer and the critic.

With the emergence of the middle class (bourgeoisie in France) during the 18^th and 19^th century, there was a greater number of people who had financial ability to access elegant artwork. With more buyers, a much larger market for paintings and other art forms was needed. The art dealers recognized this need for a greater market. These dealers were critical in this dealer-critic system in that they were the people who would aid in building up an artist to specific crowds of patrons. In these times, the artists not paintings had become the focus of the system. Also, there was an emergence of genre painting, and subsequently artists began to specialize more.  With artists focusing on a specific subject of art, they were now attempting to make a career of art, and use it as a means of making a living. The artists were clearly essential in providing a specific kind of art now for the buyers. Fine art was no longer inaccessible and now buyers could purchase art which depicted a certain picture. It was no longer limited to an image or structure which would exalt the elite, holiness, or the artist and his community. There were painters who would paint images of military scenes, others who focused on landscapes, or animals, and more.

The artist was essential to not only creating unique images but also allowing buyers to develop personal taste and art preferences. They enabled those individuals interested in art to find a specific genre they liked and capitalize on the many new emerging styles of art. The dealers were essential in promoting these artists and exposing the patrons to all these various styles along with recognizing what would be well received.

*One of the most "intelligent and far-sighted dealers, Durand-Ruels" was one of those dealers who was able to detect the potential of a certain artist and promote the probability of that artist's success based simply on speculation. As the new era of art emerged, he was moving in sync with the new demands.  In one instance, he successfully shifted his support from Barbizon landscapists to Impressionism. They had a knack for assessing talent. The "father and son were superb judges of painting \[... and\] they were also superb business men who saw how to reap the ransoms as well as commissions \[...\]" and made a successfully living together representing many artists.*

One such artist was Francois Bonvin, a French genre painter. Durand-Ruels. After art training in France, followed by his first initial sales of drawings, Bonvin gained enough popularity to progress to bigger dealers. These dealers were the only ones who cold help Bonvin, and other painters alike, "from a circle of buyers, but also upon occasion bring him the official notice" in order to maintain a living.   

The reading about the new system emerging by White and White was very interesting the way it showed the change. It is very intriguing to see how the dynamics between the artists and the dealer has only slightly modified from one of self-interest and dependence. Dealers and artists alike do not seem to have the aggressive urge to solely interact with each other based on status and the prospects of a great sale. It seems that individual preferences prevail in the new dealer-critic system interactions. I wonder though if any other regions (besides Paris and London) could have been the forefront of the art education development and art-selling arena. I'm not sure if it was in the reading and I missed it but what was the event that brought about this emergence of such a large middle class? How do you think the art market system would have been different if there was no middle class and the elite were the main supporters of fine art?