This thesis attempts to analyze the emergence of private art galleries in Turkey by focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo / s Gallery, and Society of Artlovers&rsquo / Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.

Cette thèse étudie plusieurs aspects de la dynamique du rendement des actifs. Les trois premiers chapitres ont pour objet la formation des prix sur le marché de l'art. Le premier chapitre établit que les prix peuvent s'écarter temporairement, et de manière partiellement prévisible, de la valeur fondamentale. Cet article a été publié dans Economics Letters (Volume 122, Issue 3, pp. 432-434) et a été écrit avec Christophe Spaenjers et Luc Renneboog. Le chapitre 2 étudie la vitesse de transmission de l'information dans les prix agrégés du marché de l'art. Le chapitre 3 analyse la corrélation entre prix et volume et étaye des éléments concordant avec une hypothèse de bulles. Il a été écrit avec Luc Renneboog. Le chapitre 4 s'attache à la modélisation empirique de la prédictibilité d'indices boursiers sur quinze pays industrialisés. Il propose de combiner l'information donnée par chaque pays de façon à améliorer le pouvoir prédictif. / The doctoral thesis studies several aspects of asset returns dynamics. The first three chapters focus on returns in the fine art market. The first chapter provides evidence for the existence of a slow-moving fad component in art prices that induces short-term return predictability. The article has been published in Economics Letters (Volume 122, Issue 3, pp. 432-434), and was written together with Christophe Spaenjers and Luc Renneboog. Chapter 2 investigates how fast is information incorporated into aggregate art prices. Chapter 3 studies price-volume dynamics in the art market and documents evidence of bubble patterns in prices and is written with Luc Renneboog. Chapter 4 proposes a Bayesian estimation procedure that makes efficient use of cross-sectional information, and revisits the return predictability literature.

Le 29 janvier 1906, un groupe d’artistes et de collectionneurs créent au Havre le Cercle de l’art moderne. Parmi eux : les peintres Georges Braque, Raoul Dufy et Émile Othon Friesz, l’architecte Édouard Choupaÿ, le critique littéraire G. Jean-Aubry et quelques-uns des plus importants amateurs d’art de ce début de siècle : Olivier Senn, Charles-Auguste Marande, Pieter van der Velde, Georges Dussueil… L’association se fixe comme objectif de promouvoir l’art moderne dans toute sa diversité, organisant des expositions, des conférences et des concerts de musique. Monet, Renoir, Signac mais surtout les fauves, Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck exposent leurs créations les plus récentes tandis que Debussy, Ravel et Roussel interprètent leurs compositions les plus originales. Frantz Jourdain et Guillaume Apollinaire apportent leur parrainage à l’association, qui affiche d’emblée sa filiation avec le Salon des XX à Bruxelles et le jeune Salon d’Automne à Paris. Le succès est retentissant, dépassant largement les frontières de la Ville. Cette thèse se propose de montrer combien ces années ont été cruciales pour Le Havre qui voit se créer un véritable marché de l’art fauve avec ses marchands, ses critiques d’art et ses amateurs. Le Cercle de l’art moderne a définitivement infléchi la politique artistique havraise vers une ouverture à l’art contemporain, plaçant la ville au rang de capitale culturelle de l’art moderne, dans une relation directe avec Paris et Bruxelles. / On the 29th of January 1906, a group of artists and collectors created the “Circle of Modern Art” in Le Havre. Among them were painters Georges Braque, Raoul Dufy and Émile Othon Friesz, the architect Édouard Choupaÿ, the art critic G. Jean-Aubry and some of the most important collectors of that time: Olivier Senn, Charles -Auguste Marande, Pieter van der Velde, Georges Dussueil and many others. The association's goal was to promote all aspects of Modern Art, organised many activities such as exhibits, conferences, concerts and so on. Monet, Renoir, Signac and especially the French “Fauves”—Matisse, Derain, Manguin, Marquet, Van Dongen, Vlaminck—exhibited their most recent creations while Debussy, Ravel and Roussel performed their most recent original compositions. Frantz Jourdain and Guillaume Apollinaire supported the association, which early on showed its affiliation with the Salon des XX in Brussels and the young Salon d'Automne in Paris. It was a great success in Le Havre and throughout France and Europe, resounding far beyond the city's borders. This study goes back to those crucial years in Le Havre and focuses on that very special time that saw the creation of a real art market devoted to the “Fauve” painters, with its art dealers, critics and collectors. The “Circle of Modern Art” definitely influenced the artistic policy of Le Havre, opening it up to contemporary art and ranking the city as a cultural Capital of Modern Art, directly in conjunction with Paris and Brussels.

Iris Clert (1918-1986) est une figure emblématique du monde de l'art contemporain parisien de la seconde moitié du XXe siècle, et plus particulièrement des années 1960. L'histoire de l'art semble n’avoir retenu que des bribes de son existence et de la galerie d'art contemporain qu'elle dirigea à Paris de 1956 à 1982. En effet, sa postérité repose exclusivement sur la place considérable qu'elle a tenue dans la promotion de l’oeuvre d'Yves Klein et dans l'émergence du groupe d'artistes des Nouveaux-Réalistes. Pourtant, Iris Clert n’est-elle pas la première galeriste à avoir proposé au public parisien des oeuvresd’Ad Reinhardt, Lucio Fontana et Leon Golub ? Puis, à force de renouveler et de transgresser les méthodes et pratiques habituellement assignées à sa profession, Iris Clert n’annonce-t-elle pas l’élan pris par l’art vers la participation et l'événementiel ? N’est-elle pas à l’origine de véritables politiques culturelles ? N’a-t-elle pas été elle-même une artiste ? Aussi, à force de se raconter et de s'identifier à l'art, n’a-t-elle pas tenté de se construire une mythologie personnelle, afin d’apparaître telle l’œuvre de sa galerie ? Faire de l’art une attitude de vie, provoquer, scandaliser, formuler des revendications ambiguës, se jouer des normes, se fier à son instinct plus qu'à la raison, être partout sans limites… voici les ambitions d’Iris Clert, elle qui affirmait en 1975 : « J’ai un destin, je suis la messagère des dieux, donc des artistes ! » / Iris Clert (1918-1986) is a key figure in the world of the Parisian contemporary art of the sixties. Art history seems to have only kept recollection of fragments of her life and of the contemporary art gallery she ran in Paris from 1956 to 1982. Her posterity is only based on the significant part she played in promoting Yves Klein’s art and New Realism artists.Though, isn’t Iris Clert the first gallery owner who introduced the Parisian audience with Ad Reinhardt, Lucio Fontana and Leon Golub’s art? By keeping reinventing and breaking the usual methods and habits of her field, she anticipates the impulse of art towards participation and events. Wasn’t she the spearhead of a true cultural policy and an actual artist herself? She then tried to build her own mythology by keeping identifying herself with art, to appear as the very work of her gallery. Iris Clert showed her ambitions by making art a way to conduct her life, acting in a provocative and outrageous way, expressing ambiguous demands, defying standards, trusting her instinct over her mind, and being unrestrictedly everywhere. Ambitions which made her say in 1975: “I have a destiny, I am the messenger of the gods, hence of artists”.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-04-27T12:27:22Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) / Made available in DSpace on 2017-04-27T12:27:22Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE_RaizaCavalcanti_CORRIGIDA.pdf: 5743490 bytes, checksum: 87d18151012b2adc39764cb6898d446c (MD5) Previous issue date: 2016-06-21 / CNPQ / Esta tese é uma proposta de estudo sociológico dos trabalhos artísticos, situando-os no centro da análise. A partir do conceito de agenciamentos artísticos, se investigará a ação que os trabalhos realizam no interior do campo da arte. Em termos metodológicos, se observará como os trabalhos operam práticas artístico-discursivas em sua presença no campo da arte. A ideia de que a crítica realizada pelos trabalhos artísticos pode ser completamente neutralizada ou mercantilizada por instâncias como os museus ou o mercado da arte será posta em questão a partir da observação de como estes seguem atuando discursivamente no interior do campo. Para tal propósito foram escolhidos oito artistas cuja produção é reconhecidamente crítica no campo da arte. O objetivo será o de observar a ação dos trabalhos por eles produzidos quando participam das instituições legitimadoras do campo (bienais, feiras de arte, exposições). Os artistas escolhidos são Carla Zaccagnini, Lourival Cuquinha, Marcelo Cidade, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel e Cildo Meireles. O teor estético e discursivo dos trabalhos desses artistas - que inserem sentidos que geram conflitos ou ruídos no interior do campo da arte e do campo social mais amplo -, são apaziguados quando entram em contato com o circuito institucional ou mercadológico da arte? A análise dos agenciamentos artísticos dos trabalhos destes oito artistas tentará responder a essa questão. O conceito de agenciamento artístico utilizado neste estudo está baseado na teoria da democracia agonística de Chantal Mouffe, mais especificamente em sua formulação sobre as práticas artísticas agonistas no interior da esfera pública. O conceito de campo da arte de Pierre Bourdieu também será usado para auxiliar a teorização do ambiente estrutural, simbólico, institucional e discursivo onde esses trabalhos se constituem e no qual realizam sua performance artístico-discursiva. / This thesis is a proposal for a sociological study of the artwork, placing them at the center of the analysis. From the concept of agenciamentos artísticos, the investigation will analyze the action that the artwork performs within the field of art. In methodological therms, it will be observerd how the art works operate artistic-discoursive practices when they appear as part of the art field. The idea that the criticism made by the artwork can be completely neutralized or commodified by institutions such as the museums or the art market will be called into question by the observation of how the artwork continues to act discursively within the field. For this purpose there were chosen eight artists whose production is known to be critical in the field of art. The goal will be to observe the action of the artworks when these participate in the legitimating institutions of the art field (biennials, art fairs, exhibitions). The artists chosen are Carla Zaccagnini, Lourival Cuquinha, Marcelo City, Yuri Firmeza, Artur Barrio, Paulo Bruscky, Antonio Manuel and Cildo Meireles. Are the aesthetic and discursive contents of the work of these artists - which generate conflicts or noise from inside of the art field and wider social field -, appeased when they get in contact with institutional or marketing art circuit? The analysis of the agenciamentos artísticos of the work of these eight artists will try to answer this question. The concept of artistic agency used in this study is based on agonistic democracy theory of Chantal Mouffe, more specifically in its formulation of the agonists artistic practices within the public sphere. Bourdieu's art field concept will also be used to support the theorization of the structural, symbolic, institutional and discursive enviroments where these works are constituted and in which they carry out their artistic and discursive performance.

L’objectif de ce travail de thèse consistait à étudier le processus de formation d’une collection d’art, à travers l’exemple de la collection d’Alexandre Golitzine (1727-1807), en lien étroit avec le marché de l’art européen de la 2e moitié du XVIIIe siècle. Ce travail est basé sur l’analyse d’un corpus de documents archivistiques conservés en Russie, à Moscou. Il s’agit de la correspondance entretenue par Golitzine avec ses agents actifs sur le marché de l'art européen, ainsi que des listes d’œuvres, des quittances et des comptes inclus dans les lettres. Outre la correspondance, nous avons utilisé le catalogue de la collection d’Alexandre Golitzine, la Description, conservé aux archives de l'Ermitage à Saint-Pétersbourg. Dans la première partie de ce travail nous dressons un tableau général de la formation de la culture visuelle des élites russes au XVIIIe siècle. Celle-ci s’acquiert tant au cours de voyages formateurs en Europe, que grâce aux livres ou encore aux œuvres d’art importées en Russie. La création de l’Académie des beaux-arts à Saint-Pétersbourg est, quant à elle, une étape importante dans l’assimilation de l’art européen en Russie. La deuxième partie est consacrée au parcours du prince-collectionneur Golitzine et à la formation de sa collection grâce aux acquisitions de tableaux et de sculptures faites par son réseau d’agents en Europe, tout particulièrement, en Hollande, dans les états allemands, et en Italie. Nous étudions le processus de ces achats. L’étude du fonctionnement et de l’infrastructure de son réseau sert également d’observatoire pour un ensemble de pratiques courantes sur le marché de l'art. Puis, dans la dernière partie de ce travail nous présentons brièvement le catalogue et le contenu de la collection Golitzine, sans viser l’identification des œuvres aujourd’hui dispersées. Le catalogue nous permet de confirmer certaines informations obtenues dans la correspondance à propos des achats. Il nous renseigne davantage sur le goût artistique de Golitzine, qui s’avère être un collectionneur représentatif de son milieu. En effet, son goût s’inscrit dans les tendances de son époque et de son pays, et son réseau d’agents croise et intègre un vaste réseau « russe » sur le marché de l’art européen. Les résultats des recherches menées dans le cadre de cette thèse enrichissent notre connaissance des pratiques et des acteurs du marché de l’art en Europe au XVIIIe siècle, du réseau russe en particulier. Cette thèse nous permet également de mieux connaître la démarche collectionniste d’Alexandre Golitzine, son goût, la provenance de certaines œuvres de sa collection, ainsi que sa place dans l’histoire du collectionnisme russe. / The aim of this thesis was to study the process of formation of an art collection, through the example of the collection of Alexander Golitzine (1727-1807), that was closely related to the European art market of the second half of the 18th century.This work is based on the analysis of the private papers found in the Moscow archives in Russia. These are the correspondence of Golitzine with his agents in the European art market, as well as the lists of paintings and sculptures, some receipts and accounts accompanying the letters. Besides the correspondence, I have used the catalog of Alexander Golitzine’s collection, the Description, kept in the archives of the Hermitage in St. Petersburg.In the first part of this work I draw a general picture of the formation of the Russian elite’s visual culture in the 18th century. It was developed through educational journeys to Europe, through books and works of art imported into Russia. The creation of the Academy of Fine Arts in St. Petersburg was an important step in the assimilation of European art in Russia.The second part is devoted to the prince-collector Golitzine and the acquisitions of paintings and sculptures made with the participation of the agents’ network in Europe, especially in Holland, in the German states and Italy. I study the formation of his collection through the analysis of the process of acquisitions. The study of the structure of the agents network and its functioning provides an example of a common set of practices and procedures on the art market that time.Finally, in the last part of this work I briefly present the catalog and the content of Golitzine’s collection. However, for different reasons, I do not identify the art works. The catalog allows to confirm the information on purchases, obtained in the correspondence, and provides us with additional information on Golitzine’s artistic taste, which shows him as a representative collector of his time and his country. At the same time, his network of agents seems to be a part of a wider "Russian" network on the European art market. The results of the research conducted in this thesis enrich our knowledge of the practices and actors of the art market in Europe in the 18th century, of the Russian network in particular. The thesis provides a better understanding of Alexander Golitzine’s approach to collecting, his artistic taste, the provenance of certain art works, and his place in the history of Russian collecting.

The aim of this thesis is to analyze the impacts of the falsification of paintings on the art market and on individuals. Another aim of the thesis is to identify the risk factors of buying art works on the Czech market. The partial aim is to bring to readers a comprehensive view of the issue of the falsification of paintings on the domestic art market. The theoretical part is based on the literature that has not been published so far and maps the basic mechanisms of falsification of paintings. The practical part is based on interviews with experts, criminologists and collectors who have a personal experience of buying a forger. Based on the results of the interviews, the issues of falsification of painting works are answered, the most frequently falsified Czech artists are identified and the risk factors that lead to the purchase of counterfeit. Three artists demonstrate an analysis of expertise and forensic technique in determining the authenticity of the art work.

This diploma thesis is dedicated to the phenomenon of art collecting, which under certain circumstances can be considered as an alternative investment. The aim of the thesis is to examine the possibilities of art collecting and investing in the context of both Czech and world art markets, and determine whether art collecting is a form of investment that can generate future profit. Another goal of the thesis is the creation of recommendations that can help collectors create a quality collection while increasing its value over time, no matter if the collection is to be sold afterwards or not. The thesis is divided into several parts. In the first part I describe the collecting itself, various types of collections, significant collectors and also the institutionalized forms of collections in the Czech Republic and abroad. After that I talk about the art market regarding its selling channels together with their advantages and disadvantages for collectors. Subsequently I focus on the price-making process on the art market which creates the base for the next chapter about investing in art where I describe types and rules of investing in art, and afterwards I define the rules regarding the management of an art collection in general with emphasis on its appreciation. In the end I show a practical example of the artworks price development using the artworks of one well-known Czech artist, where some of the formal theoretical statements are applied about investing in art and building an art collection. The whole thesis is assembled together with the opinions of experts from the art field in the form of expert interviews by adding their practical notes continuously to the text.

This masters thesis identifies and analyzes the aspects and specifics of branding of an artist in the art industry, which is relatively different from the branding which we know from the corporate world. The first section defines the theoretical background of the branding and marketing communication with focus on those aspects that are relative to an art and its market specifics. Theoretical definition in combination with the outcome of qualitative research, which was conducted with outperforming contemporary artists and representatives of leading galleries in Czech Republic, helps to outline the most important factors and subjects influencing the artists brand creation process which is described in the practical part of this masters thesis. Besides the quality of the piece of art itself, the aspect of the strong brand is unquestionably increasing the value of artists production. Therefore, this chapter investigates those factors and subjects that have remarkable impact on the value of the artists pieces of art. The last section of this paper gives local and international best examples of contemporary artists with strong brand.

This paper will study the Art market as an investment opportunity. We will forget about the artistic characteristics of the market (history of art, aesthetic, technic...) and focus only on the business and economic aspects of the market treating art works as tradable goods. Our goal will be to determine whether or not the art market would be a suitable investment vehicle, offering some interesting outlook to investment diversification. This paper will pay a closer look at the recent financial crisis period, trying to understand the mechanism which bonds the financial industry and the Art industry. This will be the key to introduce an investment portfolio including Art as an asset class for investment. Focusing on the performance of such portfolio we will give some further recommendation on how to reach a better than expected performance.