It is in early 19th century that dealers in contemporaryart came into public limelight particularly in France. This was incontrast when artists had to depend on middle men who were in mostcases shop-based. Substantial recognition of artists was given mainlythrough Paris’s commercial almanac that acknowledged and marketedFrench art. Arguably, one of the largest French art institutions isthe Paris Salon that stood out in the nineteenth century. Itexhibited paintings from various artists and time periods from floorto ceiling envisaging the French culture. However, the Frenchrevolution paved way for introduction of foreign art incorporatingmultinational artists from around the globe.
Female artists have not been acknowledged as much as their malecounterparts over centuries despite having significant involvement inthe industry. Their roles varied depending on culture and historicalbackground with many historically facing discrimination and dismissalof their hard work. Societies have for ages not recognized women, afactor that was also reflected in the art scene where women artistsfaced major challenges. This led to creation of feminist artmovements aimed at recognizing women in art and their role in theindustry.
Significant differences can be identified between ideological andentrepreneurial dealers in the field of art. Ideological dealerslooked to increase publicity and awareness of art work by displayingthem in salons and exhibitions with the aim of making as many peoplepossible to see them. They were not interested in entrepreneurialinitiatives and in most cases majored in older art that was not meantfor sale but display and appreciation. Entrepreneurial dealers on theother hand were out to get the maximum financial gain from artworkmainly through sale. They looked for modern art that would entice thepublic more in a bid to improve their sales1.
Green, Nicholas. “Circuits of Production, Circuits of Consumption:The Case of Mid-Nineteenth-Century French Art Dealing.” ArtJournal 48 (1989): 29–34.
1 Green, “Circuits of Production, Circuits of Consumption: The Case of Mid-Nineteenth-Century French Art Dealing.”