Why do we buy and collect art?

Remember the otherwise miserly american oil billionaire J Paul Getty? I said otherwise because he spent millions of dollars on art! Think about the Getty Museum in Los Angeles. What motivated him?

There are several theories regarding this phenomena. It dates back at least to the first century CE. The Roman rhetorician, Quintilian, thought that those who professed to admire what he considered to be the primitive works of the painter Polygnotus were motivated by ‘an ostentatious desire to seem persons of superior taste’. This theory still finds many supporters.

Many consider financial gain, one can sell art, sometimes reaping huge profits. You can get large tax deductions for donating art to museums. Some collectors have figured out how to keep their artworks close at hand while still getting a tax deduction by donating them to private museums that they’ve set up on their own properties. More nefariously, some ‘collectors’ buy art as a form of money laundering, since it is far easier to move art than cash between countries.

But most collectors have little regard for profit. For them, art is important for other reasons. The best way to understand the underlying drive of art collecting is as a means to create and strengthen social bonds, and as a way for collectors to communicate information about themselves and the world within these new networks. 

Collectors are not only interested in creating social links; they are also motivated by the messages they can send once these social networks are created. We all know that art is a powerful way for the artist to express thoughts and feelings – but collectors know that art can serve as an expressive vehicle for collectors too. Many thus carefully curate their collections, purchasing only artworks whose display backs up a claim that the collector wishes to make.

Almost always, this claim is about the identity of the collector.  From the beginning of art-making, we have believed that artworks capture and preserve the essence of their makers and even their owners. As identity can derive from lineage, owning artworks is therefore also a way for an owner to communicate with the past.

Great art needs to have something to offer to the audience. Great art seems to have always a quality that allows it to transcend the artistic tradition in which it is based. It is almost like even if you don’t fully understand it; you know that it has a lot to say.

Robert McIntosh

Most Expensive Paintings - when it comes to selling works of seemingly immeasurable value, some can garner staggering amounts!

Leonardo da Vinci, Salvator Mundi, circa 1490–1500

Sold for: $450.3 million (R6856,72 million) at Christie’s (November 15, 2017)

Most Expensive

Pablo Picasso, Les Femmes d’Alger (“Version O”), 1955

Sold for: R2731,72 million at Christie’s (May 11, 2015)

Most Expensive

Amedeo Modigliani, Nu couché, 1917–18

Sold for: R2594,68 million at Christie’s (November 9, 2015)

Most Expensive

Edvard Munch, The Scream, 1893

Sold for: R1825,72 million at Sotheby’s (May 2, 2012)

Most Expensive

Pablo Picasso, Young Girl with a Flower Basket, 1905

Sold for: R1751,10 million at Christie’s (May 8, 2018)

Most Expensive

Edward Hopper, Chop Suey, 1929

Sold for: R1399,36 million at Christie’s (November 13, 2018)

Most Expensive

Pierre-Auguste Renoir, Au Moulin de la Galette, 1876

Sold for: R1189,23 million at Sotheby’s (May 17, 1990)

Most Expensive Art in South Africa

Irma Stern’s Arab Priest fetched R52 303 600 in 2018. This painting was unexpectedly found in a London apartment, all but forgotten. It had been donated to a charity auction by Stern in order to help finance Nelson Mandela’s legal defence in the 1950s.

Most Expensive Art in South Africa

In second place is Stern again, with Bahora Girl which sold for R40 756 944 and is still framed in the original Zanzibar frame.

Most Expensive Art in South Africa

In third place, you guessed it – Irma Stern’s painting entitled Seated nude with oranges which sold for R29 210 000 and was painted in 1934.

Most Expensive Art in South Africa

Two Arabs by Irma Stern sold for R21 166 000 in South Africa, making it the highest price ever paid for any work of art at auction in South Africa. It was sold by Strauss & Co. in September 2011.

Most Expensive Art in South Africa

Two Arabs by Irma Stern sold for R21 166 000 in South Africa, making it the highest price ever paid for any work of art at auction in South Africa. It was sold by Strauss & Co. in September 2011.

Most Expensive Art in South Africa

Following closely behind Stern’s Two Arabs is Farm Jonkershoek with Twin Peaks Beyond, Stellenbosch by J.H. Pierneef which sold for R20 462 400 in 2017.

Most Expensive Art in South Africa

Vladimir Tretchikoff’s Chinese Girl brought in R17 267 000. Tretchikoff’s paintings have achieved great international acknowledgement and have been featured in a Bowie music video, a Paterson poem, The White Stripes music video and a Hitchcock film.

Remember “through the looking glass”?

We held a workshop on June 14…Two of my students shared their work with me.

Thank you so much for sharing!

Merinda Meyer came up with this interpretation. Well done!

Wilna de Bruyn came up with this. Very creative.

Please respect copyright notice

Copyright Ethics

 

The ethical issues surrounding the nature of intellectual property, the public policy debate over fair use of copyrighted materials in original work is again under the spotlight with the SA Copyright Amendment Bill where in the legislation’s “fair-use” framework seemingly allows for the expropriation of intellectual property without compensation.

 

While the EU looks to uphold the rights of its content creators, SA seems determined to weaken them.

 

This neglect is especially striking since copyright ethics are at stake in so many aspects of an artists’ life: the copying of art from online resources suggests that questions about copyright ethics may arise regularly.

The ethical quandaries surrounding fair use will not be resolved by appealing to well known principles of property rights. One reason for this is that copying involves an act of labour which, one might allege, creates property in the copy. Unlike the act of labour involved in theft, copying does not, in any obvious way, involve the removal of someone else’s property or the violation of their privacy.

 

What constitutes copyright in South Africa and how can it be protected?

 

The Copyright Act does not require registration in order to acquire copyright in respect of a particular work. Instead copyright subsists automatically once a work has been completed, provided that certain requirements are met.

 

According to  As long as the work is original (the work does not have to be inventive as such but must have been created as a result of the author’s own original labour and skill). Read full article here.

(Article source: ) In South Africa, the owner of copyright in a work is by statute given the exclusive right to perform certain specified acts in respect of his or her work or to authorise others to do so and hence to prevent unauthorised persons from performing those acts. Only certain specified categories of works defined in the Copyright Act No. 98 of 1978 are eligible for copyright protection.

 i.e.

  • artistic works irrespective of their artistic quality:
    ‘artistic works’ include: paintings, sculptures, drawings, engravings and photographs; works of architecture, being either buildings or models of buildings; and works of craftsmanship; and ‘drawing’ includes any drawing of a technical nature or any diagram, map, chart or plan.

 

Through the looking glass

Peering through leaves

Visualize a shimmering landscape as background with bright, sharp and crisp objects, in the foreground. Visualize the colours, visualize the mood, then mix your colours accordingly. In this demonstration of a fun technique I am opting for white, yellow, a soft purple, a bit of pink, and some grey – all acrylic. In the foreground I am seeing leaves in bright winter plum – it is winter now, I am surrounded by these colours at the moment. So I am mixing a bit of pink, plum, grey and of course, a lot of white. I always need a lot of white.

This is how our background emerged

mesmerizing

It somehow created itself!

Looks easy, does it not?

Start by mixing your paint 

Using acrylic and oil. Acrylic for the background, oil for the detail.

U can use oil on a thin layer of acryclic, yes. Keep the layer thin though, a thick layer may crack over time. Of course, you will have to wait for the acrylic to dry before slapping on any oil!

To create the background I will use a piece of carton to drag the paint over the canvas. Drag the carton at an angle of 45 degrees for a soft smudge. Dragging it upright will scrape your paint right off the canvas which is okay if that is what you want!

Scoop the desired colour onto the carton, then softly, smoohtly drag it over the canvas. You can, by holding the carton upright, create sharper lines. Experiment a little…

The result of this technique is often suprising!

To help you visualize the leaves, u can either use templates to trace or simply make a few drawings. In this demonstration I used templates made from paper cuttings. Once traced, remove the templates.

All hands on deck removing the templates!

Once dry, you can add your detailed foreground.

I love using a wider brush. I find it easier to tilt it this way or that. Which way depends entirely on the colour I added to whichever end of the brush.

Of course, practise makes perfect!

See my site!

My website, published more or less a month ago, is still standing strong and growing daily. Keep an eye on this space…

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