ART MARKETS : an Integrated Perspective - Thematic School June 24-28, 2019 Hotel Valpré - Lyon-Ecully - 25 images SHS
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ART MARKETS : an Integrated Perspective Thematic School June 24-28, 2019 Hotel Valpré - Lyon-Ecully https:// artmarkets2019.sciencesconf.org/ Programme
Monday 24
12.00–14.00 Welcome Buffet Lunch
14.00-14.30 Introduction
Kim Oosterlinck, Sophie Raux, Filip Vermeylen
Round table
Each participants introduces her/himself briefly
14.30-18.00 Session 1 : Actors of the market
Koen Brosens
Christian Huemer (coordinator)
Naomi Oosterman
14.30-15.30 Interactive discussion of Akerlof’s key concepts: quality
& information asymmetries
Typology actors of the market
Around 15.30 Coffee break
15.50-18.00 “Mock market”
Koen Brosens, Role of the art entrepreneur in 17th-century Paris
Christian Huemer, Role of the dealer in 19th-century Paris
Naomi Oosterman, Policing quality in the contemporary art market
(art market as criminogenic area)
Suggested Readings:
- G. A. Akerlof, "The Market for Lemons: Quality Uncertainty and the Market Mechanism,"
Quarterly Journal of Economics, Vol. 84, no. 3 (1970), pp. 488–500.
- N. De Marchi, "The role of Dutch auctions and lotteries in shaping the art aarket(s) of 17th
century Holland," Journal of Economic Behavior and Organization, Vol. 28 (1995), pp. 203-221.
- D. Galenson & R. Jensen, "Careers and canvasses. The rise of the market for modern art
in 19th-century Paris," Van Gogh Studies I, Zwolle-Amsterdam (2007), pp. 137-166.
Evening Diner at Hotel Valpré
Tuesday 25 (morning)
09.00 – 12.30 Session 2 : From the artistic value to
the economic value
Charlotte Guichard
Nathalie Moureau (coordinator)
Anne-Sophie Radermecker
Charlotte Guichard, Art markets, the plurality of values
and the agency of the artist in early modern Europe
Anne Sophie Radermecker, The economic value of art:
Current views with a special focus on the market for
Old Master paintings
Nathalie Moureau, Art values on the contemporary art market
Around 10.30 Coffee break
Suggested Readings:
- R. Moulin, "The museum and the marketplace. The constitution of value in contemporary art,"
International Journal of Political Economy, Vol. 25, No. 2, (1995), pp. 33-62
- Ch. Guichard, "Signatures, Authorship and Autographie in Eighteenth Century French Painting," Art
History, 41/ 2 (April 2018), pp. 266-291.
- Fr. Angelini, M. Castellani, "Cultural and economic value: a critical review,"Journal of Cultural
Economics, Vol. 43, Issue 2 (June 2019),pp. 173–188.
12.30 - 14.00 Lunch at Hotel Valpré
Tuesday 25 (afternoon)
14.00 - 17.30 Workshop 1 : Economic tools
Coordinator : Kim Oosterlinck (coordinator)
Anne-Sophie Radermecker
This workshop aims to give basic introduction to hedonic
regressions (especially for non-economists) and in general to help
non-economists in visualizing how to deal with economic data.
During this workshop we’ll provide minimum methodological
requirements for art market studies with a cross-disciplinary
approach (cultural economics, art history, humanities…) in order
to foster open discussion between art historians, economists,
statisticians, etc.
Around 15.30 Coffee break
Suggested readings:
- E. Lazzaro, "Assessing Quality in Cultural Goods: The Hedonic Value of Originality in
Rembrandt Print », Journal of Cultural Economics, Vol. 30, n° 1 (2006), pp. 15-40.
- Y. Zhou, "Narcissism and the Art Market Performance," The European Journal of Finance,
vol. 23, n° 13, (2016), pp. 1197-1218.
- J. Euwe, & K. Oosterlinck (2017), "Art Price Economics in the Netherlands during World War II,"
Journal of Art Market Studies, vol. 1, n° 1 (2017), pp. 47-67.
Evening Tour in Old Lyon and diner in a typical
"bouchon lyonnais"
Restaurant Chez Chabert, 13 Quai Romain Rolland, 69005 LyonWednesday 26 (morning)
09.00 – 12.30 Session 3: Experts and expertise in art
worlds
Charlotte Guichard (coordinator)
Nathalie Moureau
Filip Vermeylen
Filip Vermeylen, Are we all experts now?
Connoisseurship and art expertise in historical perspective
Charlotte Guichard, Confronting arenas. Connoisseurship
and artistic expertise in early modern Europe
Nathalie Moureau, Economic consequences of copies and
fakes on the art market.
around 10.30 Coffee break
Suggested readings :
- P. Arora, & F. Vermeylen, "The end of the art connoisseur? Experts and knowledge
production in the visual arts in the digital age," Information, Communication & Society, 16/2
(2012), pp. 194-214.
- E. Lazzaro, N. Moureau, & D. Sagot-Duvauroux, "From the market of copies to the market
of fakes: adverse selection and moral hazard in the market of paintings," in G. Mossetto
& M. Vecco (dir.), Economics of Copying and Counterfeiting (Milan: 2004).
12.30-13.45 Lunch at Hotel Valpré
Departure to the Musée des Beaux-Arts, LyonWednesday 26 (afternoon)
14.30-19.00 Workshop 2 : Critical analysis of sources
Sophie Raux (coordinator)
Sandra Van Ginhoven
Filip Vermeylen
For the first part of the afternoon, participants will be divided into
two groups. Each group will alternate for the following activities :
- A visit to the rooms of the Fine Arts Museum of Lyon focused on
questions of provenance, acquisitions, attributions, expertise... offered
by interesting case studies
- A working session designed to work, in mini groups, partly from the
files of the museum's works seen in the rooms. The aim is to allow
participants to study and confront different types of sources
18.00-19.00 : In the late afternoon, the two groups will be brought
together for a final discussion
In addition, a presentation of the Getty Provenance Index databases
will be given by Sandra Van Ginhoven
19.00-19.45 Visit of the Presqu'ile Area
(Place des Terreaux, Hôtel Dieu, Place Bellecour)
Evening Diner in Lyon
Restaurant Le Vivarais, 1 Place Gailleton, 69002 LyonThursday 27 (morning)
09.00 – 12.30 Session 4 : Globalization and Emerging markets
Amanda Brandellero,
Iain Robertson
Filip Vermeylen (coordinator)
Three presentations will set the stage for this session, followed for
a more general discussion on the globalization of the art market
since the early 2000s. We will explore the economic, cultural and
political contexts in which markets for visual arts have emerged
and matured, and identify the drivers of these new markets.
Attention will be given to the resources and methods which are
our disposal to study the development of an increasingly
international art market.
Iain Robertson, Emerging and new markets for art: a new world
order
Amanda Brandellero, Methodological approaches to the study of
the emergence and globalization of the Brazilian contemporary
art market: studying archives, exhibition reviews and art fair
participation
Filip Vermeylen, The emerging art market of India : potential,
challenges and implications
Around 10.30 Coffee break
Suggested readings:
O. Velthuis and S. Baia Curioni, “Making Markets Global,” in O. Velthuis and S. Baia Curioni
(eds.), Cosmopolitan Canvases. The globalization of markets for contemporary art (Oxford UP,
2015), pp. 1-28.
I. Robertson, New art. New Markets. Introduction: New World 0rder (Lund Humphries, 2018),
pp. 7-19.
12.30-14.00 Lunch at Hotel ValpréThursday 27 (afternoon)
14.00- 17.30 Workshop 3 : Digital tools
Koen Brosens
Christian Huemer
Sandra Van Ginhoven (coordinator)
The objective of the session is to introduce some of the main
approaches and debates around digital humanities concepts,
methods and tools. Focusing on their possibilities and limitations
for art market data-driven research, we will review of some major
themes, and participate in a hands-on group exercise to explore a
set of digital tools and resources.
14:00 – 15:00 Digital tools overview
15:00 – 16:00 Group activity
16:00 – 16:30 Coffee break
16:30 – 17:30 Group presentations/discussion
18.00 – 19.30 Guest Lecture
Illicit traffic of cultural property and INTERPOL’s capabilities
by Corrado Catesi, Coordinator of the Works of Art Unit, INTERPOL
19.30 Drinks
Evening Diner at Hotel ValpréFriday 28
9.00-12.30 Session 5 : Art market and Law
Christine Ferrari-Breeur (coordinator)
Nathalie Moureau
Naomi Oosterman
Nathalie Moureau, Resale right and the art market :
an economic approach of the law
Christine Ferrari-Breeur, Free movement of cultural goods (?)
Naomi Oosterman, Who owns what? The issues of provenance and due
diligence in the art world
Around 10.30 coffee break
Suggested readings :
A. Biondi, "The merchant, the thief & the citizen: the circulation of works of art
within the European Union," Common Market Law Review 34 (1997), pp. 1173–1195.
M. Bruncevic, "We need to talk about the cultural commons: Some musings on rhizomatic
jurisprudence and access to art," Journal of Law and Social Research (JLSR) 5 (2014), pp. 131-146.
M. Bruncevic, "The Lost Mural of Bruno Schulz: A Critical Legal Perspective on Control, Access
to and Ownership of Art," Law Critique 22 (2011), pp. 2279–96
12.30- 14.00 Lunch at Hotel Valpré
14.00-15.30 Conclusion and perspectives
End of the Thematic SchoolList of speakers
Amanda Brandellero CulturaL Sociology Erasmus University, Rotterdam
Christine Ferrari-Breeur Art Market Law Université Lyon 3, Lyon
Koenraad Brosens Art History/
Digital Humanities Katholieke Universiteit, Leuven
Corrado Catesi Criminology INTERPOL, Lyon
Charlotte Guichard Art History CNRS / Ecole Nationale Supérieure, Paris
Christian Huemer Art History/
Digital Humanities Research Center, Belvedere, Vienna
Kim Oosterlinck Finance Université Libre de Bruxelles, Brussels
Naomi Oosterman Sociology of Art Erasmus University, Rotterdam/
City University of London
Nathalie Moureau Economics of Art Université Paul Valery, Montpellier
Anne-Sophie Radermecker Art History Université Libre de Bruxelles, Brussels
Sophie Raux Art History Université Lyon 2, Lyon
Iain Robertson, Art Trade Sotheby’s Institute of Art, London
Jean-Christophe Stuccilli Associate Curator Musée des Beaux-Arts, Lyon
Sandra Van Ginhoven Art History/
Digital Humanities Getty Research Institute, Los Angeles
Filip Vermeylen Global Art Markets Erasmus University, RotterdamResearch Director at the CNRS, Charlotte Guichard is
Speakers Professor in the History Department at the Ecole normale
supérieure (Paris). She is a specialist in the visual and
material culture of the
Enlightenment. Her work questions
how art is given value and leads her
Amanda Brandellero is Assistant Professor at Erasmus towards material and transnational
School of History, Culture and Communication approaches to art. She has published
(Rotterdam). Her research and consultancy expertise is in Les amateurs d'art à Paris au XVIIIe
urban economic development and siècle (2008); Graffitis. Inscrire son
globalisation, with a particular interest in nom à Rome, XVIe-XIXe siècles
the cultural economy. Her past research (2014); La griffe du peintre. La
projects have examined migrant valeur de l’art, 1730-1820 (2018) and
entrepreneurs in the creative industries in she has edited Les Formes de
European cities, the globalisation of l'expertise artistique en Europe,
culture, and emerging forms of popular XIVe-XVIIIe siècles, Revue de
cultural heritage. As a consultant, she has Synthèse (2011) ; De l'authenticité. A
managed international research and History of the Values of Art (XVIe-XXe siècle) (2014);
evaluation projects on urban policy and Acquiring Cultures. Histories of World Art on Western
planning. Her most recent research project Markets, with C. Howald and B. Savoy, (2018).
focused on the globalisation of the
contemporary art market, with a particular
focus on Brazil. In the coming years, she Christian Huemer is Director of the Belvedere Research
will be leading a European comparative project on Center in Vienna. 2008-17 he headed the Project for the Study
Crafting Future Urban Economies, for which she has of Collecting and Provenance at the Getty Research Institute,
received the prestigious VIDI grant from the Dutch Los Angeles, where he has overseen international research
Research Council. Her project will focus on how crafts and projects, such as “London and the
making practices can offer solutions for sustainable forms Emergence of a European Art Market,
of production that are embedded in local histories and 1780-1820” and “The Business of Art in
skills. the ‘Third Reich’.” Huemer studied art
history at the University of Vienna, the
Paris Sorbonne, and the City University
of New York where he submitted a
Christine Ferrari-Breeur is Associate Professor in dissertation on “Paris-Vienna: Modern
public law, specialising in EU law as well as administrative Art Markets and the Transmission of
property law and comparative law. she has Culture, 1873-1937.” He serves as
worked at the European Commission as a Board Member of The International Art
government expert specialising in higher Market Studies Association (TIAMSA)
education issues. She is a Professore a and as Editor-in-Chief of the book
contratto at the Department of series “Studies in the History of Collecting & Art Markets”
Jurisprudence - University of Turin (and (HCAM, Brill).
Head of the Italian Law Department in
Université Lyon 3. In that university, she is
also Co-Director of the Institut Droit Art Natalie Moureau is Professor of cultural economics and Vice-
Culture (IDAC). She is Head of the Master President of Culture, University of Paul
Droit et Fiscalité du Marché de l'Art (Art Valery Montpellier, France. She has
Law and Taxation), as well as director of published different books and various papers
the degree Art Market Professions; She is a on the contemporary art market. She has
founding member and scientific co-director also conducted several researches for the
of the journal Juris Art etc. (Dalloz) from 2013 to 2017. French Ministry of Culture and
Her analyses focus mainly on the public law of movable Communication. Among her recent
cultural property ; she has widely published on national, pblications Le marché de l’art contemporain
comparative and European law issues. (2016) with D. Sagot-
Duvauroux) and Contemporary Art Col-
lectors : The Unsung Influences on the Art
Scenes [CE-2015-1] DEPS (in col-laboration
Koenraad Brosens is a research professor in and chair
with D. Sagot-Duvauroux and M.Vidal)
of Art History at the University of Leuven (KU Leuven). He
has published widely on Flemish and
French tapestry and European markets
for tapestry. Koen is PI of Project Kim Oosterlinck is Professor of Finance at the Solvay
Cornelia (https://projectcornelia.be). Brussels School of Economics and Management (Université
This is a slow digital art history project libre de Bruxelles) and Research Fellow
developed in close collaboration with the at the CEPR. He holds a Master in
University’s Computer Science Management, a Master in Art History
Department. It aims to gain better and Archaeology, and a Ph.D. in
understanding of how the digital can or Economics and Management from the
should be used by art historians Université libre de Bruxelles (ULB).
addressing traditional and new questions After a post-doctoral stay at Rutgers
that are fueled by complex and ‘biggish’ University (the State University of New
archival data. Koen was visiting professor Jersey), he came back at ULB as
at the University of Pennsylvania and the Peter Paul professor. His main research interests
Rubens Chair at the University of California Berkeley. are sovereign bond valuation, financial
Finally, he tries to be a good husband and father while history and art market investments. His
thoroughly enjoying scuba diving and all things Dylan. work on arts includes, amongst others,
the impact of fake discoveries on art markets, the reactions of
art markets to monetary reforms, the evolution of art markets
during WWII or the strategic motivations of banks to create art
collections.Iain Robertson is head of Art Business Studies at Sotheby's
Naomi Oosterman is a researcher at the Department of Institute of Art. He was Exhibitions Officer, Royal Institute
Sociology of City, University of London, where she of British Architects, Cultural Officer, British Council,
completed her PhD research on the topic of Taiwan and Senior Lecturer in Arts Policy & Management at
transnational policing of art crime. City University. He was a awarded
Furthermore, she is a lecturer at the a PhD in 2000 from City University
Department of Arts and Culture Studies at for his thesis 'The emerging art
Erasmus University Rotterdam. Her research markets of Greater China 1989-
primarily focuses on policing practices in the art 1999. His books include:
world. Her dissertation examined the criminal Understanding International Art
economy of the European art market by Markets and Management
studying criminal records of stolen art as (2005)(2nd edition 2014),The Art
registered by Interpol’s Works of Art Database. Business (2008) and 'A New Art
In addition, she studied the ways state from Emerging Markets' (2011).
formations affect the national policing of art Art Business Today, 20 Key Topics
crime by analyzing policing practices and the (2016), Understanding Art
historical formation of cultural policies in the Netherlands Markets: Inside the World of Art and Business (2016), New
and Italy. Her main research interests include crime and Art New Markets (2018). He was art market editor of Art
criminality in the art world, cultural and criminogenic fields, Market Report and is co-series editor of Handbooks in the
and neo-institutionalism. Art Business (SIA and Lund Humphries). He consults for
commercial organisations in Asia, the middle East and
Europe. He lectures worldwide in universities. He is a board
member of TIAMSA (The International Art Market Studies
Anne-Sophie Radermecker holds a double master’s Association).
degree in Art History (ULiège) and in Cultural Management
(ULB). She has recently defended a PhD thesis
dedicated to the market for Old Master Sandra van Ginhoven is Head of the Project for the Study
paintings and the economics of names that of Collecting and Provenance at the Getty Research
characterizes this market segment. Her main Institute, department responsible for
research interests are authenticity issues in the Getty Provenance Index®
early modern art, reciprocal interactions databases. Currently being transformed
between art history and the art market, into Linked Open Data, the databases
quantitative methods applied to art history, contain over 1.75 million records
and the market reception of authorship and extracted from primary source material
anonymity. Her postdoc research project covering roughly the late 16th to the
(Duke University 2019-2020) will more largely mid 20th century, such as archival
focus on the trade of indeterminate goods, inventories, auction catalogs, and
namely works of art, crafts and cultural objects whose dealer stock books. She has a
author’s name is missing, unknown or (intentionally or not) background in Economics, and a PhD in
kept anonymous. She has published several cross-disciplinary Art History. Her research on the art
papers in both economic (JEBO, JECE) and art historical trade between the Southern
journals (Marges, NKJ, Koregos…) Netherlands and Spanish America during
the seventeenth century was published in 2016, and her
current research looks into data analysis and modeling
Sophie Raux is Professor of history of early modern art the techniques to gain insights into the history of collecting and
University Lumière Lyon 2. She heads the research team « the art markets.
Arts, Images, Sociétés » within the
Laboratoire de Recherche Historique Rhône-
Alpes. Her research focuses mainly on the art Filip Vermeylen (PhD. Columbia University 2002) is
and visual culture of the former Low Professor of Global Art Markets at the Erasmus University
Countries and France. She headed the project Rotterdam in The Netherlands. He
Art Markets in Europe; Emergence, lectures and publishes on various
Developments, Networks (2008-12) supported aspects of the economics of art and
by the Agence Nationale de la Recherche. Her culture, and is currently the chair of
books include Moving Pictures. Intra the Department of Arts and Culture
European Trade in Images 16th-18th c., co- Studies. He is especially interested in
edited with N. De Marchi (2014), A perte de the history and functioning of art
vue, les nouveaux paradigmes du visuel, co- markets since the Renaissance, the
edited with D. Dubuisson (2015), Lotteries, notion of quality in the visual arts,
Art Markets, and Visual Culture in the Low Countries, 15th- the role of intermediaries as arbiters
17th c. (2018). She is currently working on a collective book of taste and emerging art markets
project on the digital reconstruction of the Pont Notre-Dame such as India. He is a board member
in Paris and of the interior of Gersaint’s art shop. of The International Art Market Studies Association (TIAMSA)
and co-founder of the Rotterdam Arts & Sciences Lab
(www.rasl.nu). Together with Christian Huemer (Belvedere,
Vienna), he is currently writing a book on the history of the
art market which will be published by Getty Publications.
More information on Filip Vermeylen’s scholarly work and a
full CV can be found on his website: filipvermeylen.comList of participants
Felipe Alvarez De Toledo Art History, Economics Duke University, Durham (NC)
Francecco Angelini Economics Università di Bologna
Suzanne Baverez Art History Ecole Nationale Supérieure, Paris
Marie Blum Economics Université de Strasbourg
Pierre Bourg Art History, Law Université Lyon 2
Daniel Dubuisson History CNRS, IRHIS, Lille
Claire Dupin de Beyssat Art History Université de Tours
Soersha Dyon Art History Ecole Pratique des Hautes Etudes, Paris
Alice Ensabella Art History Université Grenoble Alpes
Melanie Fasche Art Trade, Economics Sotheby's Institute of Art, London
Guillaume Grenier Art History, Law Université Lyon 2
Laura Gvenetadze Art History Johannes Gutenberg University, Mainz
Maria Hirvi-Ijäs Art Theory Center for Cultural Policy Research, Helsinki
Blandine Landau Art History Université Lyon 2 /Duke University (NC) USA
Elysia Lowry Cultural Management Université Libre de Bruxelles
Camille Mestdagh Art History Université Lyon 2/ Université de Bourgogne
Valeria Paruzzo Art History/ Università degli Studi di Trento
Cultural Heritage
Alberto Pirro Art History Ecole nationale des Chartes, Paris/
Università degli Studi di Torino
Tihana Puc, Art History/
Cultural Heritage, Ministry of Culture of the Rep. of Croatia, Zagreb
Fernanda Rodriguez Sociology of Culture, Erasmus University Rotterdam
Media and the Arts
Saraswathi Shukla Music History, Literature Université de Toulouse /
University of California, Berkeley
Elena Stepanova Economics of Art Catholic University of Milan.
Karolina Vocke Economics, Artist University of Innsbruck
Mercedes Volait Art History/ Centre National de la Recherche Scientifique
Digital Humanities InVisu, ParisPractical Information Location HOTEL VALPRÉ 1 chemin de Chalin - BP 165- 69 131 Ecully Cedex Tél : 33 (0) 4 72 18 05 05 e-mail : reception@valpre.com https://www.valpre.com/ Going to Hotel Valpré from Lyon : From Part-Dieu Train Station (distance 5,9 km) Go down to the subway and take the line B towards Gerland. Switch at Saxe-Gambetta. Join line D towards Gare de Vaise and stop at Gorge de Loup. Take the bus 19, towards Ecully – le-Pérollier and stop at Valpré From Saint Exupery Airport (distance 33,1 km.) Take the Rhône Express shuttle to Lyon Part Dieu train station (departure every 15 minutes. The ride lasts 30 minutes). Scientific committee Francesco Beretta, CNRS – LARHRA ; Christine Ferrari-Breeur, Université Lyon 3 ; Natacha Coquery, Université Lyon 2 - LARHRA ; Charlotte Guichard, CNRS (IHMC), ENS Paris ; Nathalie Moureau, Université Paul Valéry, Montpellier ; Kim Oosterlinck, Université Libre de Bruxelles ; Sophie Raux, Université Lyon 2 – LARHRA ; Sandra Van Ginhoven, Getty Research Institute, Los Angeles ; Filip Vermeylen, Erasmus University, Rotterdam Organizing committee Vincent Alamercery, LARHRA, ENS Lyon ; Alice Ensabella, Université de Grenoble Alpes, LARHRA; Véronique Grandjean, CNRS, LARHRA ; Kim Oosterlinck, Université Libre de Bruxelles ; Sophie Raux, Université Lyon 2 – LARHRA ; Filip Vermeylen, Erasmus Universiteit, Rotterdam ; Claire Veyrunes, Lyon 2 – LARHRA The thematic school Art Markets : an Integrated Perspective is organised by the Laboratoire de Recherche Historique Rhône-Alpes (LARHRA) in collaboration with the Université Libre de Bruxelles, and Erasmus University, Rotterdam It has received financial support from the CNRS, IDEX Lyon, Université Lumière Lyon 2, LARHRA, College académique Sciences Sociales de l’Université de Lyon. The organizers thank warmly the Getty Research Institute (Los Angeles), the MSH Lyon Saint-Etienne, and the Musée des Beaux-Arts of Lyon for their participation and their help in organizing this event Contacts : artmarkets2019@sciencesconf.org
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