Economic Engagements with Art. 1999. Edited by Neil De Marchi and Craufurd D. W. Goodwin. Supplement to volume 31 of HOPE. Durham, NC: Duke University Press.
"Introduction," by Neil De Marchi (pp. 1–30). In a variety of ways and contexts, writers on economics have consistently found themselves conflicted over art.
Part 1. Art and Economic Theory
"Francisco Pacheco: Economist for the Art World," by Zarinés Negrón (pp. 33–40). Francisco Pacheco (1564–1644) made signification contributions to the understanding of the product of paintings and their vauation.
"The Problem of Unique Goods as Factors of Production: Rousseau on Art and the Economy," by Bertil Fridén (pp. 41–56). Rosseau gives to art various functions within his economic philosophy.
"Obscure Objects of Desire? Nineteenth-Century British Economists and the Price(s) of 'Rare Art,'" by Michael V. White (pp. 57–84). Nineteenth-century writers struggled to provide a systematic or determinate theoretical explanation for the prices of irreproducible commodities such as art works.
"Pacifying the Workman: Ruskin and Jevons on Labor and Popular Culture," by Harro Maas (pp. 85–120). The different views of Ruskin and Jevons on the conditions needed to produce art were perhaps motivated by different attitudes toward the factory system.
"Jevons's Music Manuscript and the Political Economy of Music," by Bert Mosselmans and Ernest Mathijs (pp. 121–56). Jevons's music manuscript confirms that his large oeuvre should be considered as a unified whole.
"The Economics of Art through Art Critics' Eyes," by Craufurd D. W. Goodwin (pp. 157–84). Art critics such as Roger Fry behaved and approached their subject in some ways remarkaby like economists, although reaching very different results.
Part 2. Art and Economic Policy
"Art Exports and the Construction of National Heritage in Late-Victorian and Edwardian Great Britain," by Helen Rees (pp. 187–208). The associative discourses of art and nationhood were activated by the export of paintings in the years before World War I.
"International Commerce in the Fine Arts and American Political Economy, 1789–1913," by William J. Barber (pp. 209–55). Tariffs on imported works of art were a litmus test of the US government's posture toward the nation's cultural life.
"Positive Science, Normative Man: Lionel Robbins and the Political Economy of Art," by Márcia L. Balisciano and Steven G. Medema (pp. 256–84). Robbins's work on the political economy of art illustrates the role that selective perception, sentiment, and valuation play in economic policy analysis.
"Economy, Architecture, and Politics: Colonialist and Cold War Hotels," by Annabel Wharton (pp. 285–99). Hotels in Athens, Cairo, and Istanbul show the correlation between architectural effects and economic processes.
Part 3. The Business of Art
"The Economics of Art in Early Modern Times: Some Humanist and Scholastic Approaches," by Toon Van Houdt (pp. 303–31). Early seventeenth-century scholars adopted divergent approaches to examine the world of art and reached quite different conclusions about its economic features.
"Liberalitas, Magnificentia, Splendor: The Classic Origins of Italian Renaissance Lifestyles," by Guido Guerzoni (pp. 332–78). The virtues of liberalitas and magnificentia are important for an understanding of Renaissance luxury and splendor and of the origins of court-aristocratic behavior and consumption.
"Ingenuity, Preference, and the Pricing of Pictures: The Smith-Reynolds Connection," by Neil De Marchi and Hans J. Van Miegroet (pp. 379–412). The interests of Adam Smith and Joshua Reynolds intersected because of a common preoccupation with and pleasure in ingenuity.
"Production and Reproduction: Commerce in Images in Late-Eighteenth-Century London," by Sara Zablotney (pp. 413–22). Producers of art often lead sophisticated economic lives, and it is not surprising that economic principles can explain why certain paintings or prints are produced and priced as they are.
"Dealer in Magic: James Cox's Jewelry Museum and the Economics of Luxurious Spectacle in Late-Eighteenth-Century London," by Marcia Pointon (pp. 423–51). James Cox's museum illuminates the link betwen heritage and commerce.
"'Seeing Is Believing': Otto Neurath, Graphic Art, and the Social Order," by Robert J. Leonard (pp. 452–78). Neurath seized on German graphic art and made it an integral part of his politics and his analyses of the socioeconomic order.