Painting and Publishing as Cultural Industries. The Fabric of Creativity in the Dutch Republic, 1580-1800

Rasterhoff, Claartje

doi:10.5117/9789089647023

Cited by 35 publications

(20 citation statements)

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“…It, too, shows in the first three decades of the 17th century, the painting production grew in an accelerating pace, before hit the wall around 1640, when the growth rate almost dropped to zero. This stagnation shows an early sign of saturation in the art market given the fact that the population of painters underwent a spectacular increase at the same time as Rasterhoff (2017) observed. Remarkably, the production managed to break through and embraced another stage of rapid growth, although at a slightly lower and diminishing rate, in the following two decades (the growth rate see Figure 1b).…”

Section: Production Trend Visualizedmentioning

confidence: 65%

“…Although it has been suggested that the Dutch art market reached its pinnacle around 1660 and collapsed after the 1660s (De Vries 1991;Bok 1994Bok , 2001, scholars have not yet been able to elucidate the exact trend and fluctuations of painting production in the Dutch Republic. Due to the lack of historical sources on the painting production, existing studies either extrapolate the available materials to fill the missing data (Van der Woude 1991;Montias 1990; De Marchi andMiegroet 2006, 2014), or use the number of painters in the Republic to indicate the size of the art market (Rasterhoff 2017;Nijboer 2010). Nonetheless, both approaches are subject to a wide margin of error and are yet to yield convincing results (Brosens and Stighelen 2002).…”

Section: Introductionmentioning

confidence: 99%

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Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands

2019

Arts

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The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throughout the 17th-century. The visualizations verify the existing observations on the market saturation and industry stagnation in 1630–1640. In spite of this market condition, the growth of painting production was sustained until the 1660s. This study argues that the irrational risk-taking behavior of painters and the over-enthusiasm for painting in the public created a “social bubble” and the subsequent contraction of the production was a market correction back to a stable state. However, these risk-taking attitudes during the bubble time spurred exuberant artistic innovations that highlight the Dutch contribution to the development of art.

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Section: Production Trend Visualizedmentioning

confidence: 65%

Section: Introductionmentioning

confidence: 99%

Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands

2019

Arts

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“…Hence the inventories after may have suffered from inflation from the secondhand paintings. The production trend in Figure 1 is almost perfectly correlated with the total number of painters in the ECARTICO database, a source used by Rasterhoff (2017) and (Figure 3), with a correlation coefficient of 0.99 at the 0.01 significance level. As the inventory-based sample and painter's population both indicate a similar trend as Figure 1, I am more confident that the RKD data should be able to accurately reflect the production trend of Dutch paintings in the 17th century.…”

Section: Production Trend Visualizedmentioning

confidence: 76%

“…With the substantial cost and risk topped with the fierce competition in the art market, the economic man with the perfect, logical, deductive rationality, as assumed in neoclassical economics, would hesitate to take on the painting profession after the 1610s. However, Rasterhoff (2017) observed that the proportion of newcomers to total active painters started to increase in the 1620s without apparent grounds for a surge in demand for paintings while the economy wavered after the war resumed in (Goldgar 2007). Previous historians explained it as a result of the expectation of future demand .…”

Section: Decisions Under Risk and Uncertaintymentioning

confidence: 99%

“…Although it has been suggested that the Dutch art market reached its pinnacle around 1660 and collapsed after the 1660s (De Vries 1991;Bok , 2001), scholars have not yet been able to elucidate the exact trend and fluctuations of painting production in the Dutch Republic. Due to the lack of historical sources on the painting production, existing studies either extrapolate the available materials to fill the missing data (Van der Woude 1991; Montias 1990; De Marchi andMiegroet 2006, 2014), or use the number of painters in the Republic to indicate the size of the art market (Rasterhoff 2017;. Nonetheless, both approaches are subject to a wide margin of error and are yet to yield convincing results (Brosens and Stighelen 2002).…”

Section: Introductionmentioning

confidence: 99%

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Art Markets and Digital Histories

2020

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She specializes in the relationship between cities, culture and economics, and has published and taught on art markets and cultural industries from the early modern period to the present. Her current research projects focus on the development of historical cultural datasets and digital infrastructures, as well as their application in other societal domains. Sandra van Ginhoven is head of the Project for the Study of Collecting and Provenance at the Getty Research Institute. Her research on the history of the art markets and the art trade between the Southern Netherlands and Spanish America during the seventeenth century was published in 2016. Her current projects apply data analysis and modeling techniques to various topics in the history of collecting and the art markets. vii Preface to "Art Markets and Digital Histories" This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. As historical and contemporary data is rapidly becoming more available, and digital technologies are becoming integral to research in the humanities and social sciences, we sought to bring together contributions that reflect on the different strategies that art market scholars employ to navigate and negotiate digital techniques and resources. The essays in this issue cover a wide range of topics and research questions. Taken together, the essays offer a reflection on what takes to research art markets, which includes addressing difficult topics, such as the nature of the research questions and data available to us, and the conceptual aspects of art markets, in order to define and operationalize variables and to interpret visual and statistical patterns for scholarship. In our view, this discussion is enriched when also taking into account how to use shared or interoperable ontologies and vocabularies to define concepts and relationships that facilitate the use and exchange of linked (open) data for cultural heritage and historical research.

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Linked Cultural Events: Digitizing Past Events and Implications for Analyzing the ‘Creative City’

Nijboer

Rasterhoff

2018

Digital Research and Education in Architectural Heritage

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Painting and Publishing as Cultural Industries. The Fabric of Creativity in the Dutch Republic, 1580-1800

Cited by 35 publications

References 4 publications

Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands

Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands

Art Markets and Digital Histories

Linked Cultural Events: Digitizing Past Events and Implications for Analyzing the ‘Creative City’

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