La peinture ne flattoit plus les personnes. Private collections of paintings in eighteenth-century Brussels

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Tussen traditie en vernieuwing. Consumptiepatronen en materiële cultuur van de late zeventiende tot de vroege negentiende eeuw

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Dromen van Rubens. De Koninklijke Academie voor Schilderkunst en Beeldhouwkunst in Antwerpen (1663–1794)

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Neophilia and Old Master paintings. Changes in Consumer Choice and the Evolution of Art Auctions in the Eighteenth Century

Item does not contain fulltextOver the course of the eighteenth century the Austrian Netherlands witnessed the emergence of specialised art auctions. In this article we argue that both the evolution of the auctions and of the prices paid for works of art at the auctions can only be understood as a response to changes in consumer culture during the eighteenth century. Although auctions rapidly gained in importance as a commercial arena through which Old Masters could be resold in Antwerp and Brussels, the prices paid for art saw only modest movement during the 1700s, but then collapsed at the end of the century. By analysing both how local demand for art in Austrian Netherlands failed to absorb the abundant supply of paintings during this period, and how this created a flourishing export market, the study reported here maps the mechanisms that ensured the – often permanent – movement of Flanders’ artistic legacy to collections and museums abroad.9 december 201629 p

Ceylonese Arcadia? Colonial encounters in mid-eighteenth-century Dutch Sri Lanka

Contains fulltext : 197316.pdf (publisher's version ) (Open Access

Harbouring urban creativity: the Antwerp Art Academy in the tension between artistic and artisanal training in the late seventeenth and eighteenth centuries

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Der Wert von Anzeigen – Anzeigen von Wert. Zeitungsanzeigen im Markt für Kunstauktionen in Antwerpen im 18. Jahrhundert

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Words of Value? Art Auctions and Semiotic Socialisation in the Austrian Netherlands (1750-1794)

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