Anne Helmreich
Biographic Data
| ID | 5671737 |
|---|---|
| NAME | Anne Helmreich |
| GIVEN NAMES | Anne |
| FAMILY NAME | Helmreich |
| SIGNATURE | HELMREICH A |
| ORCID | 0000-0003-3026-988X |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
The Art Market as a System
This article examines an essay by Florence Nightingale Levy, published in The American Magazine of Art in 1917, arguing for its significance as a major contribution to the historiography of the study of the art market, and a prescient analysis of the art market. As an art museum employee and publisher, Levy worked strenuously to correct the asymmetry of information that she believed put museum directors and curators at a distinct disadvantage. He…
Art market and the press
The Art Market and the Spaces of Sociability in Victorian London
This paper examines the publics associated with commercial art galleries in Victorian London, focusing on the last quarter of the nineteenth century. The relationship between the gallery and its publics is framed by the larger issue of the relationship between art and commerce, driven by such questions as: Who was art for? Who constituted art’s public(s)? Did commerce interfere with or facilitate art’s desired publics? Did commerce taint or stren…
Digital art history
An interview with three American historians of art on the the past, present, and future of digital art history
Digital art history
entre 1500 et 1750
Dynamic Networks of Circulation and Exchange in Edwardian Art
On 24 April 1906, the artist Muirhead Bone wrote to his colleague Charles Conder: My dear Conder, I am sorry to bother you for I daresay you have heaps of requests for work, but I confess I do hope
Internationalism and the Arts in Britain and Europe at the Fin de Siècle edited by Grace Brockington
Marketing Bohemia
On 20 June 1914, the Vorticists set out to shock the British cultural establishment with their journal Blast; its bold type marching diagonally across its bright pink cover. Within, readers found a powerful manifesto, trumpeted in heavy font, specifying individuals, institutions, and items to be blasted or blessed. Amidst those to be blasted, sandwiched between Edward Elgar, cod liver oil and Clan Strachey, was the Chenil Gallery. The Vorticists'…
John Singer Sargent, Carnation, Lily, Lily, Rose , and the Condition of Modernism in England, 1887
The modernist paradigm in the history of art has been typically formulated through French art, and within this rubric British art is often positioned as the counterbalance to the modern. For example, in Investigating Modern Art (1996), an undergraduate textbook written for the Open University curriculum, the authors pair British artist William Frith's painting The Railway Station (1862) with French Impressionist Claude Monet's Interior of the Gar…
No prominent works on this page.
John Singer Sargent, Carnation, Lily, Lily, Rose , and the Condition of Modernism in England, 1887
The modernist paradigm in the history of art has been typically formulated through French art, and within this rubric British art is often positioned as the counterbalance to the modern. For example, in Investigating Modern Art (1996), an undergraduate textbook written for the Open University curriculum, the authors pair British artist William Frith's painting The Railway Station (1862) with French Impressionist Claude Monet's Interior of the Gar…
Marketing Bohemia
On 20 June 1914, the Vorticists set out to shock the British cultural establishment with their journal Blast; its bold type marching diagonally across its bright pink cover. Within, readers found a powerful manifesto, trumpeted in heavy font, specifying individuals, institutions, and items to be blasted or blessed. Amidst those to be blasted, sandwiched between Edward Elgar, cod liver oil and Clan Strachey, was the Chenil Gallery. The Vorticists'…
Internationalism and the Arts in Britain and Europe at the Fin de Siècle edited by Grace Brockington
Dynamic Networks of Circulation and Exchange in Edwardian Art
On 24 April 1906, the artist Muirhead Bone wrote to his colleague Charles Conder: My dear Conder, I am sorry to bother you for I daresay you have heaps of requests for work, but I confess I do hope
Digital art history
An interview with three American historians of art on the the past, present, and future of digital art history
Digital art history
entre 1500 et 1750
The Art Market and the Spaces of Sociability in Victorian London
This paper examines the publics associated with commercial art galleries in Victorian London, focusing on the last quarter of the nineteenth century. The relationship between the gallery and its publics is framed by the larger issue of the relationship between art and commerce, driven by such questions as: Who was art for? Who constituted art’s public(s)? Did commerce interfere with or facilitate art’s desired publics? Did commerce taint or stren…
Art market and the press
The Art Market as a System
This article examines an essay by Florence Nightingale Levy, published in The American Magazine of Art in 1917, arguing for its significance as a major contribution to the historiography of the study of the art market, and a prescient analysis of the art market. As an art museum employee and publisher, Levy worked strenuously to correct the asymmetry of information that she believed put museum directors and curators at a distinct disadvantage. He…
Art (7 works) · Art history (6 works) · Art History and Market Analysis (6 works) · History (4 works) · Visual arts (4 works) · Historical Art and Culture Studies (3 works) · Law (3 works) · Performance art (3 works) · Political science (3 works) · Aesthetic Perception and Analysis (2 works)