Who is the Artist? Kennerschaftliche Praxis in Museen<\/strong><\/a> Objects on the Art Market: Original oder F\u00e4lschung \u2013 eine Frage der Expertise?<\/strong><\/a> Art Theft \u2013 Art Market \u2013 Art Propaganda: Dr. Dorothee Wimmer<\/strong> KuK TU Berlin YouTube-Link:\u00a0Kunstpropaganda und Marktmacht: Rembrandt im Nationalsozialismus<\/a><\/p>\n Rembrandt in Graphs. A quantitative data analysis based on digitised German-language auction catalogues between 1901 and 1918<\/span><\/a> Ambassadors of Beauty. Italian Old Masters and Fascist Cultural Diplomacy (1930-1940)<\/a> documenta and the Art Market (1955 \u2013 1968)<\/a> Repertory: The French Art Market During during German Occupation in World War II<\/a> TEAA \u2013 Tracing East Asian Art<\/a> Acquisitions made by the Berlin State Museums on the Parisian Art Market during the Occupation 1940-1944<\/a> The Art Market Dictionary – AMD<\/strong> <\/span><\/a><\/p>\n Dr. Johannes Nathan<\/strong> Better than Gold? Art in Storage Spaces of the 21st<\/sup> Century<\/a><\/strong><\/p>\n Dr. Christoph Rausch Die Gesch\u00e4ftsbeziehungen zwischen der Kunst und Antiquit\u00e4ten GmbH der DDR und westlichen Auktionsh\u00e4usern im Zeitraum von 1973 bis 1990: Mechanismen \u2013 Netzwerke \u2013 Objekte<\/a> German-French Research Programme 2018-2019: Art Market and Art Collecting from 1900 to the Present in Germany and France<\/a> The Global Power of Private Museums: Arts and Publics \u2013 States and Markets<\/a> Symbolic Capital? Prices at the Louvre around 1800 The Founding of the Auction House H\u00f4tel Drouot 1852 in Paris<\/strong><\/span><\/a><\/p>\n Dr. des. Lukas Fuchsgruber<\/strong> Research and Cooperation Projekts Who is the Artist? Kennerschaftliche Praxis in MuseenThe interdisciplinary online workshop “Who is the Artist? Kennerschaftliche Praxis in Museen” was organised by the Forum Kunst und Markt \/ Centre for Art Market Studies at the TU Berlin in cooperation with the Centre Marc Bloch – Franco-German Research Centre for the Social […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-18","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/18","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/comments?post=18"}],"version-history":[{"count":247,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/18\/revisions"}],"predecessor-version":[{"id":11063,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/18\/revisions\/11063"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=18"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/strong>The interdisciplinary online workshop “Who is the Artist? Kennerschaftliche Praxis in Museen” was organised by the Forum Kunst und Markt \/ Centre for Art Market Studies at the TU Berlin in cooperation with the Centre Marc Bloch – Franco-German Research Centre for the Social Sciences, Berlin.<\/p>\n
The symposium “Objects on the Art Market: Original oder F\u00e4lschung \u2013 eine Frage der Expertise?” was organised by the Forum Kunst und Markt \/ Centre for Art Market Studies at the TU Berlin in cooperation with PD Dr. Waltraut M. Bayer (FWF project “Private Kunstmuseen und Stiftungen russischer Oligarchen”), Vienna, and funded by the DFG<\/a> and the\u00a0Wissenschaftsfonds FWF<\/a>.<\/p>\n
The material and ideological appropriation of Rembrandt under National Socialism<\/strong> <\/span><\/a><\/p>\n
This research project, centering on the material and ideological appropriation of Rembrandt under National Socialism, analyzes the interdependence between propaganda and the trade in works by Rembrandt in the \u201cThird Reich\u201d, comparing this to the periods before and after the period of National Socialism.<\/p>\n
Gabriele Z\u00f6llner, M.A.<\/strong><\/p>\n
\nAssociated Research Projects<\/h1>\n
Dr. des. Matilde Cartolari
<\/strong>The dissertation investigates the exhibitions of Italian Old Masters promoted by the Fascist government abroad in the 1930s.\u00a0<\/span>Through an extensive survey of archival materials and the press campaign, the thesis reconstructs their organisational dynamics, and notably the (verbal and visual) rhetoric of the transfer of the exhibits in relation to international cultural diplomacy as well as the art market.<\/span><\/p>\n
Mela D\u00e1vila-Freire, M.A.
<\/strong>This research and book project examines the history of the early documentas (1955-1968) from an interdisciplinary perspective: the interface between commercial and artistic interests. The aim is to trace documenta\u2019s activity as a publisher of artists\u2019 editions and multiples in its early years.<\/p>\n
Dr. Elisabeth Furtw\u00e4ngler<\/strong><\/p>\n
<\/strong>Dr. Christine Howald<\/strong>
The forced opening of East Asia in the mid-nineteenth century suddenly opened an enormous market of original art treasures, setting off a wildfire of euphoria for asiatica in the West. The present research project contrasts the international actors and their transnational networks, both of which influenced the Western engagement with the art of the Far East.<\/p>\n
Mattes Lammert, M.A.<\/strong><\/p>\n
The AMD is the first encompassing dictionary on the art market and its historic development. Published in English, the AMD will provide invaluable access to information on the trade\u2019s principal agents such as auction houses, commercial galleries, art dealers and advisors.
<\/p>\n
<\/strong><\/p>\n
Xenia Schiemann, M.A.<\/strong><\/p>\n
\nCompleted Projects<\/h1>\n
Paris, France, March 11-13, 2019
Berlin, Germany, November 8-10, 2018
<\/strong>The German-French Research Programme 2018\u20132019 \u201cArt Market and Art Collecting from 1900 to the Present in Germany and France\u201d was organised by the Forum Kunst und Markt \/ Centre for Art Market Studies at TU Berlin and the Centre Georg Simmel<\/a>\u00a0at the\u00a0\u00c9cole des Hautes \u00c9tudes en Sciences Sociales<\/a>\u00a0in collaboration with the\u00a0Deutsches Forum f\u00fcr Kunstgeschichte Paris<\/a>. The German-French Research Programme 2018\u20132019 was funded by the UFA\/DFH<\/a>.<\/p>\n
Berlin, November 16\u201318, 2017
<\/strong>The international conference “The Global Power of Private Museums: Arts and Publics \u2013 States and Markets” was organised by the Forum Kunst und Markt \/ Centre for Art Market Studies at TU Berlin in cooperation with the Forum Transregionale Studien c\/o Institute for Advanced Study, Berlin, and its research programme Art Histories and Aesthetic Practices. The conference was funded by the Fritz Thyssen Stiftung.<\/a><\/p>\n
<\/strong> <\/span><\/a>Prof. Dr. B\u00e9n\u00e9dicte Savoy<\/strong>
In early 1810 the French government passed a law requiring all state museums to systematically list their complete holdings.
Link to the article: \u201eInvaluable Masterpieces\u201c: The Price of Art at the Mus\u00e9e Napol\u00e9on”<\/a><\/p>\n
In 1852, the newly erected auction house H\u00f4tel Drouot opened its doors to the public. Here, the Association of Auctioneers proceeded with the sale of artworks, furniture, decorative art, fashion, and curiosities.<\/p>\n\n