...’ decisions. Artists themselves are presented as actors isolated from mar- ket forces, responding to impulses far removed from the laws of supply and demand for the creation of their oeuvre. In fact, producers of art since the early modern period—painters, engravers, and printers— have often led...

... was an important and influential figure in the art world of Seville. In 1616 he was elected dean of the painters’ guild, and two years later he was chosen as overseer of reli- gious painting for the local Inquisition. He was involved with the intel- lectual elite of the city and oversaw an unofficial academy...

... . ———. [1860] 1903–12 . Modern Painters . Vol. 5 . In The Works of John Ruskin , edited by Cook E. T. Wedderburn Alexander , 7 : 1 – 460 . London : George Allen . ———. [1862] 1903–12a . Munera Pulveris . In The Works of John Ruskin , edited by Cook E. T. Wedderburn Alexander...

... architects, painters, and sculptors usu- ally remained vast. Many humanists simply proved unable to under- stand, let alone to discuss, such typical features of art as color, light, and perspective (Cast 1988, 414–15; Hope and McGrath 1996, 168– 69). This is not to say that they neglected the world...

... of gaining temporary use of resources. Thus, though it is a bit farfetched, consider art transactions as a form of repurchase agreement, which is to say as a type of forward contract. Take an art dealer and a painter. A two-way deal may be struck between them re­ garding a particular...

... in British Art. Wax , Carol . 1990 . The Mezzotint: History and Technique . London: Thames & Hudson. Wetering , Ernst van der . 1997 . Rembrandt: The Painter at Work . Amsterdam: Amsterdam University Press. White , Raymond , and Jo Kirby. 1994 . Rembrandt and His Circle...

... of philosophy. Hume distinguished between philosophy conducted by an “anatomist” or a “painter” (Hume 1976 : 620–21; 1975 : 5–6; Abramson 2007 ). The anatomist dissects the experience of moral judgment and tries to understand how it operates, while the painter, like Hutcheson, seeks to promote virtue among...

..., American painters and sculptors enjoyed a higher visibility then ever before. Indeed, when measured as a share of Gross National Product, public monies committed to the arts were higher in the 1930s than at any earlier or subsequent moments in our national experience. This stands out as all the more...

... story. The painter Piet Mon­ drian did not prompt Paul Samuelson to formalize economics. Samuel- son’s affinity for modernist art would bolster the story, but his dislike or indifference would not make a difference. Apart from, or, better, be­ cause of the virtual impossibility of sorting...

... Thomas Carlyle and Ruskin and there met his lifelong friend, the painter Edward Burne-Jones. Sometime in 1856, the two met Dante Gabriel Rossetti, one of the central figures of the Pre-Raphaelite Brotherhood. Morris, who had been working in the architecture office of G. E. Street, gave up his plans...

... Island. In his memoirs, he observed that his interest in putting works of art on the free list during his congressional ser- vice had brought him “into close relations with the painters, sculptors, and architects of New York” (Belmont 1940, 608). 222 Barber As part of its campaign against...

..., of classical rules governing poetic composition, and of the mid-seventeenth-century French view that the highest aim of a painter should be to represent poetic conceits, prefer- ably in an elevating manner. Auctioneers and dealers could not control such movements of thought; at most, they could play along...

... Press . Spear Richard E. Sohm Philip , eds. 2010 . Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters . New Haven : Yale University Press . Velthuis Olav . 2005 . Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art...

..., Menand offers portraits of philosophers, literary critics, poets, novelists, bureaucrats, musicians, dancers, and painters. He begins with the George Kennan, the author of the documents that would be received as the rationale for American Cold War foreign policy (7) and ends with the English writer...

... . 1997 . “ The World Bank as ‘Intellectual Actor.’ ” In The World Bank: Its First Half Century , vol. 2 , edited by Kapur Devesh Lewis John P. Webb Richard . Washington, D.C. : Brookings Institution . Stone Richard N. 1953 . Letter to Professor Sidney Painter , February...

... Perrotta has immersed himself in this litera- ture repays itself with many gems. Witness early nineteenth-century American econ- omist Daniel Raymond who, contra Smith, claimed that the occupations of the poet, the painter, and musician are productive, because their labor produces innocent enjoyment. So...

... essays Vision and Design, 1920, reprinted 1956), he was just com- pleting a crash course of practical exposure to the art market. He had been buyer for the Metropolitan Museum, several American collectors, and himself as a minor speculator. He had also been seller as a profes- sional painter, gallery...

... at Tilton in 1926, parodied in Vanessa Bell’s painting The Keynes-Keynes. Keynes observed the experience of his artist friends, particularly the painter Duncan Grant, whom he first met in 1908 when he, Keynes, was twenty-five. Keynes “took little interest in painting” (Scrase and Croft 1983, 19...

... by the belief that their dispassionate analysis can result in a world more in 308  History of Political Economy 43:2 (2011) conformity with their desires and aesthetic ideals. Another shows when theorists, like painters, are motivated by an irrational, artistic desire to produce formal structures...

... & we were very glad to breath the fresh air of the country again the next morning. —John Ruskin, A Tour to the Lakes in Cumberland How a painter would have enjoyed the sight which broke upon my waking eyes this morning! To my right...