By David W. Galenson
At what level in their careers do nice artists produce their most crucial paintings? In a sequence of experiences that deliver new insights and new dimensions to the research of inventive creativity, Galenson’s new e-book examines the careers of multiple hundred smooth painters, poets and novelists to bare a strong courting among age and inventive creativity.
Analyzing the careers of significant literary and inventive figures, corresponding to Cézanne, van Gogh, Dickens, Hemingway and Plath, Galenson highlights the various tools during which artists have made thoughts.
Pointing to a brand new and richer background of the fashionable arts, this book is of curiosity, not just to humanists and social scientists, yet to someone drawn to the character of human creativity in general.
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Extra resources for Artistic Capital
The same might equally be true of the study of art history. It is consequently to be hoped that this demonstration of the value of quantification in a discipline in which it has been sorely neglected will not only inspire more scholars to bring quantitative methods to bear on art history, but will also prompt others to devote greater efforts to producing more considered and insightful criticisms of their results. ”2 Yet Rosenblum’s belief is mistaken. As in other disciplines, quantitative evidence in art history has proven useful not only for constructing explanations, but for identifying problems to be explained.
But the quantitative evidence might not point as clearly to the categorization of two of the most important painters considered in this study. The earlier of these is Claude Monet. 6, for a five-year period that began when he was under 30. 1) made up by illustrations of paintings from the periods identified here. 38 Evidence from art historians quintessentially an experimental innovator. ” He also had recurring doubts about finishing his work: in 1893, at age 53, in spite of his established reputation and growing commercial success, Monet wrote to a friend that “the further I get, the more difficult it is for me to convey what I feel; and I tell myself that anyone who claims he’s finished a painting is terribly arrogant.
The most important individual paintings are those that announce the appearance of the most important innovations. Recognizing innovation as the source of importance in modern art allows a restatement of the puzzles raised earlier. Why did some of the most important innovators not produce individual landmark works that announced their innovations? Why were many of the most important individual embodiments of innovations not produced by the most important innovators? And why were several artists able to produce more than one major landmark work declaring significant innovations?
Artistic Capital by David W. Galenson