Exhibitions, reviews, sales and other kinds of financial support were all closely connected, but it was difficult for the individual artist to deal with them all; the artist had to develop a self-image which could encompass two worlds, one concrete and one abstract. As no account of the relation between artists and the market in Denmark in this period has previously been presented, it is important to investigate the prevailing social and cultural conditions of the first decade of the twentieth century. Let us first consider how an artistic career emerged at this time by turning our attention to the academy of fine arts and its policies.
|Bidragets oversatte titel
|Kunstmarkedet og Avantgarde i Danmark
|A Cultural History of The Avant-Garde in the Nordic Countries 1900-1925
|Hubert van den Berg, Irmeli Hautamaki, Benedikt Hjartarson, Torben Jelsbak, Rikard Schönström, Per Stounbjerg, Tania Ørum, Dorthe Aagesen
|Locations of the Nordic Avent-Garde
|Udgivet - 2012