Barbizon School-Colour Field Painting-Conceptual Art-Cubism-Expressionism-Fauvism-Hard-Edge Painting-Hudson River School-Impressionism-Minimalism-Neo-Expressionism-Neo-Impressionism-Norwich School-Northern School-Op Art-Pop Art-Post-impressionism-Postmodernism-Realism-Surrealism-Symbolism-Vorticism.........and so it goes on.

These art schools and movements are forever irresistible. However we must avoid getting too precious about a particular movement. Even Dante Rossetti got fed up with the art school that he invented, and is still celebrated today, of the PreRaphaelite Brotherhood. He became self-concious about it, finally abandoning the idea feeling it rather silly. We love to put labels on things to help explain or simplify the detail. It is true that when we mention any of the art schools listed above we immediately think of practitioners and/or particular pictures.
For example mention of Pop Art might make the reader think of the artist Roy Lichtenstein. The Art World loves its movements because it helps classify a work, as if it is explained away by its very identification as belonging to a defined style or purpose. The identification of a school or movement somehow suggests that the work deserves merit simply because it is part of that identified movement. Being attributed to an art movement helps assess the artist’s work in the context of personal objectives and beliefs. Schools of Art may help classification, dating and/or contextualising nevertheless the prime factor in art appreciation will always be personal indentification with the work. In other words there is a connect between buyer and artist in that whatever it was that inspired the original creation some of its meaningful stardust has filtered onto an audience that are similarly moved and appreciative.

Being in tune with an Artist is one of the great motivations for being your own Art Collector.

For example, this writer has a fondness for the French illustrator A.E.Marty whose work would fall into the Art Deco school encompassing the 1920's and beyond. This artist was used for numerous book illustrations and advertising and latterly prints and posters. The reason his work was/is so popular does not belong in classification or categorisation, rather it is due to his own imagination and ability to interpret a scene, paint with line and wash so beautifully as to render almost every piece of artwork uniquely his own.

Art Investment - The $12 Million Stuffed Shark

Extract from The Sunday Times.....

includes extract from the Don Thompson book The $12 million Stuffed Shark

At its heart, The Art World consists of three principle participants: The Artists, The Art Collectors and the Art dealers.

There are other players - such as Auctioneers, Art Fairs and Museums - but the relationship between the core triumvirate interests me the most. In theory, only the dealer is driven by the profit motive, but of course, many Art collectors also want to do well financially.

The sector is worth at least $60bn (£48bn) a year and is dominated by the US, Chinese and British markets. Art Dealers and private sales represent just over half of all sales.

About 40% of the market is Contemporary Art - A brilliant invention to expand the industry since Artists keep making more of it, and creating it often requires minimal craft while selling it just needs lots of hype.

I think certain Contemporary Art dealers are cynics. The book The $12 Million Stuffed Shark by Don Thompson reveals that of the 1,000 Artists who had serious Gallery Shows in New York and London during the 1980's, only 20 were still being shown in comparable Galleries in 2007.

In other words very little Contemporary Art will ever resell for even a fraction of its original purchase price. Yet many Dealers must surely convince their clients that the art they are buying is a good investment.

Luke Johnson is Chairman of Risk Capital Partners.

Extract from his article in The Sunday Times Business section 3  - 19th February 2017.

ArtPrestige Artists works are protected by Copyright in Law - this means that The Artist retains the 'Right' to 'Copy' his ORIGINAL Art Creation for the purposes of reproduction and that the buyer or purchaser of that ORIGINAL work of Art, whilst now owning the ORIGINAL is NOT entitled to 'Copy' or reproduce that artwork without prior permission from the 'CopyRight' owner - i.e the Artist. In simple terms a buyer may find that although owning, treasuring, benefitting from the investment return and enjoying possession of the ORIGINAL, he/she is not entitled to reproduce that artwork and make copies. The artwork buyer may well find themselves owning an ORIGINAL artwork that is indeed reproduced in the form of Prints being sold as the image remains within the Artist's custody and the legal right to create and sell prints and/or reproductions in some form.

ArtPrestige Original Art, Artist's Copyright, Reproduction and the Protection of the Law

A bundle of intangible rights, granted by statute to the author or originator of literary or an artistic production, whereby, for a limited period, the exclusive privilege is given to that person (or to any party to whom he or she transfers ownership) to make copies of the same for publication and sale. A copyright is a legal device that gives the creator of a literary, artistic, musical, or other creative work the sole right to publish and sell that work. All Copyright owners have (by law) the right to control the reproduction of their work, including the right to receive payment for that reproduction. An author may grant or sell those rights to others, including publishers or recording companies. Violation of any copyright is called infringement. Copyright must always remain with the author or artist that created the original work of art.
In the case of portraiture the copyright must still remain with the artist. In practical terms this merely safeguards the artist ‘right’ to reproduce the image in print or digital form for the purposes of further advertising or promotion of his services. Portraits are mostly highly personal images and therefore the reproduction value is limited; however there may be occasions where portrait images (particularly themed settings) are required for book illustrations, displays or reproductions - particularly in the case of famous artists. In each and every case the copyright must remain with the artist originating the portraiture artwork.
This protection need not concern customers and clients for portraiture.
The laws of copyright apply to every creative process by artists and artisans worldwide and have done since 1710. It is essential in these mass-media multi-communication times that the individual artist is protected from the exploitation of their creative originality.

Much of the information here has been adapted from information found on the official website of the U.S. Copyright Office.
Copyright is a form of protection provided by the laws of the United States (Title 17, U.S. Code) to the creators of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available for both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:
To reproduce the work in copies or phono records;
To prepare derivative works based upon the work;
To distribute copies of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, motion pictures and other audiovisual works;
To display the copyrighted work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and
In the case of sound recordings, to perform the work publicly by means of a digital audio transmission.
In addition to copyright, certain authors of works of visual art also have the rights of attribution and integrity as described in Section 106A of the 1976 Copyright Act. It is illegal for anyone to violate any of the rights provided by the copyright law to the copyright holder.

Who Owns Copyrights?

Copyright protection subsists from the time the work is created in fixed, tangible form.
The copyright in the work of authorship immediately becomes the property of the author who created the work. Only the author or those deriving their rights through the author can rightfully claim copyright. The ownership of a book, manuscript, painting, or any other work does not give the possessor of that work its copyright. The law provides that transfer of ownership of any material object that embodies a protected work does not of itself convey the copyright or any interest in the copyright. This remains in the possession of the creator and is often referred to as the underlying artist’s copyright, distinct from the physical object which embodies it. Any or all of the copyright owner's exclusive rights or any subdivision of those rights may be transferred to another party, but the transfer of exclusive rights is not valid unless that transfer is in writing and signed by the owner of the copyright or such owner's duly authorized agent. Such transfers are comparatively rare in the U.S. and are almost never knowingly engaged in by European artists.

ArtPrestige Writers and Artists, Portraiture and the Laws of Copyright.  

Making Contact with the ArtPrestige OnLine Gallery Artists, Writers and Artisans

UNDERSTANDING and CONSIDERATION

In issueing these contact points (email addresses) please be patient if replies are delayed.

We do not have management of Artist's personalities or their time. Some Artisans are famous for social media skills whilst others are notoriously reclusive. Remember the Creative Artist is many things, but nearly always abnormal, unpredictable and most certainly an individual.

info@artprestige.uk

Desmond Piper Email - despiper@artprestige.uk

Aubrey Stax Email - stax@artprestige.uk

Sheridan Vaughan Email - sheridan@artprestige.uk

Leighton Charles Email - leighton@artprestige.uk

Gabriel Baxter Email - gabrielbaxter@artprestige.uk

Tony Brooks Email - Grapevine277@gmail.com

Ross Courtney Email - rosscourtney@artprestige.uk

Kathleen Conlon Email - kateconlon@talktalk.net

ArtPrestige is on twitter @artprestigeltd

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