faz.net
Old Masters Auctions Shift Terminology, Broaden Scope
New York's upcoming Old Masters auctions, featuring works from the late 15th century to 1901 from various collections including the Alana Collection and Aso O. Tavitian's estate, are using terms like "Classic Week" and "Masters Week" instead of "Old Masters," reflecting a broader appeal to new collectors and the scarcity of material.
- How does the selection of artworks in these auctions reflect changes in the Old Masters collecting market?
- This change in terminology reflects a broader strategy to attract new collectors who may not be as specialized in Old Masters. The auctions feature works from the late 15th century to 1901, including pieces from the Alana Collection and the estate of Aso O. Tavitian, demonstrating a diverse range of artistic styles and periods.
- What is the significance of the shift from "Old Masters" to terms like "Classic Week" and "Masters Week" in the upcoming New York auctions?
- The upcoming New York Old Masters auctions show a shift in terminology, with auction houses like Christie's and Sotheby's opting for terms like "Classic Week" and "Masters Week" instead of "Old Masters." This reflects a broader appeal to new collectors and a wider range of art across four centuries due to material scarcity.
- What are the potential long-term implications of this shift in terminology and the broader range of artwork offered for the future of Old Masters auctions?
- The shift towards broader categorization and the inclusion of works spanning four centuries suggests a potential trend towards less specialized collecting in the Old Masters market. The high estimates for pieces like El Greco's "Saint Sebastian" and the Caspar David Friedrich drawings indicate continued strong interest in high-quality works, even with a broadened scope.
Cognitive Concepts
Framing Bias
The framing emphasizes the high-value items and the strategic rebranding of 'Old Masters' to 'Classic Week' or 'Masters Week', suggesting a focus on market trends and the preferences of new collectors. This might overshadow the artistic merit of the pieces themselves.
Language Bias
The use of terms like "gertenschlanken, sinnlich-jugendlichen" (slender, sensuously youthful) to describe a painting could be considered loaded language, as it adds subjective aesthetic judgment. More neutral descriptors could be used, focusing on objective features.
Bias by Omission
The article focuses heavily on high-value pieces and their provenance, potentially omitting less expensive or less historically significant works from the auction. This might skew the reader's perception of the overall market.
False Dichotomy
The article presents a dichotomy between 'old' and 'classic' Masters, implying an outdated image that needs refreshing. This simplifies the complex relationship between historical value and modern appeal.
Gender Bias
The article mentions the gender roles depicted in the Cranach paintings and their connection to the Latin inscription, but it doesn't further analyze gender representation within the art world or in the auction context itself.
Sustainable Development Goals
The article highlights the sale of artworks from the collection of Aso O. Tavitian, a philanthropist. This indirectly contributes to reduced inequality by supporting institutions like the Clark Institute through donations, thereby potentially furthering educational and cultural access for a wider population. The sales also generate funds that could be reinvested in philanthropic activities.