The death of the artist - a signal of the art market

[LCR]

Le Temps, 12.06.2010
Laurent Wolf

The death of the artist - a signal the market of art


The rate of reaction of the art market is amazing, he instantly adapts to the circumstances, even tragic.

On May 12, 2008 at the age of 82 years died, Robert Rauschenberg, one of the most famous American artists of his generation, winner of the Venice Biennale in 1964, a virtuoso of pop art and assemblage. His works have been achieved during his life at public auction is quite significant digits. He was among the permanent members art fairs, but without excessive noise. A month after the death of his works exhibited at the 39 th edition of Art Basel, increased several times, and the quality of these works is not always consistent with the reputation of the artist: along with the finished work was exhibited there the mass of various sketches and drawings - as though some a magician pulled them out of his hat.

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After the funeral, the artist market reaction to this event is always so hectic that evil tongues say about necrophilia art market. This fever lasts for at least several months. Then some artists go into the background and sometimes remain in the shadows for long periods, and quotation of other giddily soars. We can bet that the next week, on stands Art Basel will be plenty of pictures and sculptures of Louise Bourgeois, who died on May 31 at the age of 98 and years, especially in the last few years, despite his age, it is particularly large worked. Certainly at the fair will be well represented and photos Balthasar Burckhardt, died on 16 April at the age of 65 and years.

This lightning-fast reaction of the market on the death of artists who became famous during his lifetime, the emergence of a very large number of unpublished works and the growth of quotations artists after their death - a phenomenon was not new. Some outraged it cynical profiteering at the event, not having, in general, the relationship to art, and of course, something they're right: The main objective of the exhibitions "as a sign of respect ..." - not to honor the deceased. But let's not exaggerate in their disapproval of such mercantile activities.

The concept of Western art for more than five hundred years, ie since the artist's name has become an integral part of our vision of art, the concept of the author's works is a decisive aspect. Important for us to painting by Leonardo da Vinci was indeed a work by Leonardo da Vinci, Delacroix's work was written by Delacroix, Picasso canvas painted by Picasso. Forgery can be a masterpiece only until she was razobrachat.

The main function of art historians and experts, is precisely the guarantee of the names of authors of works of art. Attribution of causes countless debates and controversy not only because it leads to economic consequences - from the fact whether the picture painted Rembrendtom or just in his shop, its price, of course, changed radically - but also because the attribution of changes history.

No artist is alive, the fate of his works opened, the story is not written: the author can change their stories, technique, style, style. While the artist is alive, it is impossible to say what he actually represents. Life was short of some artists, and art homogenous - like Van Gogh and Egon Schiele. Others have lived a long life, during which they changed, and sometimes they even refused to works created by them in certain periods of his career: a sleek and attractive Titian his early period, not at all like the almost abstract Titian's later years, Picasso throughout his life continually changed.

While the artist is alive, his story is not written, his work can turn in either direction. Death - not only an engine of creativity and critical of its subjects, it is inextricably linked with the work in the sense that it puts an end, allows us to understand what constitutes the artist, it restores the career of an artist and gives coherence to this path and ultimate identity. And therefore, the appearance of any art fair - why should not Art Basel? - Works recently deceased artist - not only a manifestation of economic opportunism, but also a "dance of death", celebrating the conclusion of his work and its entry in the history.

[Pavel]

This naturally-received signal that the number of works is limited to the artist's death. In the case of Rauschenberg, the beautiful and diverse artist, he enjoyed life and well-deserved success. I remember him as an exhibition in Moscow in the CHA and the impression of ease and artistry, which remained from his work. Too bad he died a great artist.
After his work all these wineries simply look clumsy amateurish.
Another thing to Modelyani, when speculators and dealers awaited his death, and in this ozhidaniispetsialno reduced prices on its work.
To buy their podeshevke and then inflate the price, that happened.

Worse still with us. In the complete absence of the market and cheap politicization, wasted enormous potential of the artistic legacy of generations of artists, just because we are engaged in this limited and incompetent people.