Investments in Painting: The interaction of monetary return and psychic income
The financial press gives very regular attention to art and culture in their many forms. Business newspapers such as the Financial Times, the Wall Street Journal, Het Financieele Dagblad and De Financieel Economische Tijd give over plenty of space in their weekend editions to news of art auction prices and exhibitions of major or less well-known works. As well as this practical outlook, more theoretical economists have given increasing attention to the economics of art since the 1970s. There has been a remarkably large amount of research into the pricing of art and the closely associated subject of the return on purchases of art. This centres on painting in general and on individual painters. The attention to painting in the business press is without doubt prompted by the need for journalistic variety, plus the wish to impart a cultural element to the reporting. The provision of market information to readers is, of course, another significant motive. It is less simple to explain the academic interest of economists. At first sight, it seems exotic. But that is a hasty conclusion. Along with intellectual curiosity, there is probably a role for the need to apply trusted analytical methods to new areas of research. Whatever the reason, there is a place for the systematic study of the literature on the sense and nonsense of investing in painting and this is the objective of this paper. It is, however, also a report of explorations in a field that has fascinated me personally as an economist for many years. I, therefore, wrote this essay with great pleasure and hope I can share my enjoyment with my readers in the same way that guidebooks can sometimes add to the pleasure of a trip.
|This chapter was published in: ||This item is provided by SUERF - The European Money and Finance Forum in its series Chapters in SUERF Studies with number
13-1.||Handle:|| RePEc:erf:erfssc:13-1||Contact details of provider:|| Postal: |
Phone: +43/1/404 20 7216
Fax: +43/1/404 20 7298
Web page: http://www.suerf.org
More information through EDIRC
|Order Information:|| Postal: SUERF c/o OeNB, Otto-Wagner-Platz 3, A-1090 Vienna, Austria|
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- Throsby, David, 1994. "The Production and Consumption of the Arts: A View of Cultural Economics," Journal of Economic Literature, American Economic Association, vol. 32(1), pages 1-29, March.
- Cem Karacadag & Michael Taylor, 2000.
"The New Capital Adequacy Framework; Institutional Constraints and Incentive Structures,"
IMF Working Papers
00/93, International Monetary Fund.
- Cem Karacadag & Michael W. Taylor, 2000. "The New Capital Adequacy Framework - Institutional Constraints and Incentive Structures," SUERF Studies, SUERF - The European Money and Finance Forum, number 8 edited by Morten Balling, November.
- Cem Karacadag & Michael W. Taylor, 2000. "The New Capital Adequacy Framework: Institutional Constraints and Incentive Structures," Chapters in SUERF Studies, SUERF - The European Money and Finance Forum.
When requesting a correction, please mention this item's handle: RePEc:erf:erfssc:13-1. See general information about how to correct material in RePEc.
For technical questions regarding this item, or to correct its authors, title, abstract, bibliographic or download information, contact: (Dragana Popovic)
If references are entirely missing, you can add them using this form.