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Gary Schwartz

French art historian and economist, active in the USA. Montias was a specialist in Eastern European command economies who in mid-career changed fields and became a historian of Dutch painting. His interest in the subject was threefold. Before he began writing on Dutch art, he collected it, with the advice of a leading specialist in the field, Egbert Haverkamp-Begemann, a fellow professor at Yale University. This led him to pursue knowledge concerning the minor masters he could afford, which brought him closer to the basics of the Dutch art world. It was an approach diametrically opposed to how most students learn about this material, which is from the iconic masterworks down. His second focus of interest was economic. Three-quarters of a century after the appearance of the last, largely anecdotal survey of the economics of Dutch art, by Hanns Floerke, Montias applied the techniques of neo-classical economics to the field in a way that was accessible to art historians. Entirely on his own, he opened up new perspectives that inspired art historians, economists, and economic historians alike to revisit the subject of Dutch art. Thirdly, Montias was entranced by the ...

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Deborah Cullen

The Museum of Modern Art (MoMA) was founded in 1929 by patrons Lillie P(lummer) Bliss, Cornelius J. Sullivan and Rockefeller family, §1 to establish an institution devoted to modern art. Over the next ten years the Museum moved three times and in 1939 settled in the Early Modern style building (...

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Nadja Rottner

French critic and philosopher Nicolas Bourriaud adopted the term ‘relational aesthetics’ in the mid-1990s to refer to the work of a selected group of artists, and what he considers their novel approach to a socially conscious art of participation: an art that takes as its content the human relations elicited by the artwork. Its key practitioners, most of them emerging in the 1990s, include ...