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"Galenson, David W"
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The economics of art history
The study of art history has been traditionally focused on the description of artistic innovations, the role of the artists and the meaning of the artworks. It has often neglected the broader reasons why certain innovations took place in certain places, in specific times and in particular ways. We believe that the impact of institutional and economic factors has been critical in shaping the evolution of art history, and quantitative methods can be useful to improve our understanding of the history of figurative arts and the relationship between market structure and creativity.
Journal Article
Old masters and young geniuses
When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives?
By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors,Old Masters and Young Geniusesoffers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime.
Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cézanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past.
Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.
eBook
Conceptual Revolutions in Twentieth-Century Art
From Picasso's Cubism and Duchamp's readymades to Warhol's silkscreens and Smithson's earthworks, the art of the twentieth century broke completely with earlier artistic traditions. A basic change in the market for advanced art produced a heightened demand for innovation, and young conceptual innovators – from Picasso and Duchamp to Rauschenberg and Warhol to Cindy Sherman and Damien Hirst – responded not only by creating dozens of new forms of art, but also by behaving in ways that would have been incomprehensible to their predecessors. Conceptual Revolutions in Twentieth-Century Art presents the first systematic analysis of the reasons for this discontinuity. David W. Galenson, whose earlier research has changed our understanding of creativity, combines social scientific methods with qualitative analysis to produce a fundamentally new interpretation of modern art that will give readers a far deeper appreciation of the art of the past century, and of today, than is available elsewhere.
eBook
Two old masters and a young genius: the creativity of Francis Bacon, Lucian Freud, and Jean-Michel Basquiat
Francis Bacon, Lucian Freud, and Jean-Michel Basquiat were key figures in the resurgence of expressive figurative painting in the late twentieth century. All three made personal visual art, drawing their subjects from among the people and things they cared most about. Yet they worked in very different ways, toward very different goals. This paper considers how their differing motivations and methods resulted in radically differing life cycles of creativity, measured both by auction market outcomes and by the judgments of art scholars. The experimental art of Bacon and Freud developed gradually and produced masterpieces late in their long lives, whereas the conceptual Basquiat made his most innovative art well before his premature death.
Journal Article
Economic History
The field of economic history was largely transformed during the 1960s, when scholars trained in economics departments began to apply economic theory and econometrics to historical questions. The resulting quantitative research, often called the new economic history or cliometrics, has now produced significant revisions of some issues that had previously been studied primarily by historians, as well as novel results on long-run relationships of interest to economists. Much of this research has been based on computer analysis of micro-level data sets collected from historical archives. The field of economic history is extremely broad in its coverage of both time and space. Yet these serve as significant examples of the gains that have resulted from the systematic application of economic theory and econometrics to large bodies of historical evidence, both in the precision of our knowledge of the past and in the confidence we can attach to generalizations about economic change.
Journal Article
Creative Careers: The Life Cycles of Nobel Laureates in Economics
We identify two polar life cycles of scholarly creativity among Nobel laureate economists with Tinbergen falling broadly in the middle. Experimental innovators work inductively, accumulating knowledge from experience. Conceptual innovators work deductively, applying abstract principles. Innovators whose work is more conceptual do their most important work earlier in their careers than those whose work is more experimental. Our estimates imply that the probability that the most conceptual laureate publishes his single best work peaks at age 25 compared to the mid-50 s for the most experimental laureate. Thus, while experience benefits experimental innovators, newness to a field benefits conceptual innovators.
Journal Article
Painting outside the Lines
Why have some great modern artists-including Picasso-produced their
most important work early in their careers while others-like
Cézanne-have done theirs late in life? In a work that brings new
insights, and new dimensions, to the history of modern art, David
Galenson examines the careers of more than 100 modern painters to
disclose a fascinating relationship between age and artistic
creativity. Galenson's analysis of the careers of figures such as
Monet, Seurat, Matisse, Pollock, and Jasper Johns reveals two very
different methods by which artists have made innovations, each
associated with a very different pattern of discovery over the life
cycle. Experimental innovators, like Cézanne, work by trial and
error, and arrive at their most important contributions gradually.
In contrast, Picasso and other conceptual innovators make sudden
breakthroughs by formulating new ideas. Consequently, experimental
innovators usually make their discoveries late in their lives,
whereas conceptual innovators typically peak at an early age. A
novel contribution to the history of modern art, both in method and
in substance, Painting outside the Lines offers an
enlightening glimpse into the relationship between the working
methods and the life cycles of modern artists. The book's explicit
use of simple but powerful quantitative techniques allows for
systematic generalization about large numbers of artists-and
illuminates significant but little understood features of the
history of modern art. Pointing to a new and richer understanding
of that history, from Impressionism to Abstract Expressionism and
beyond, Galenson's work also has broad implications for future
attempts to understand the nature of human creativity in general.
eBook
Correction to: Creative Careers: The Life Cycles of Nobel Laureates in Economics
The article Creative Careers: The Life Cycles of Nobel Laureates in Economics, written by Bruce A. Weinberg and David W. Galenson, was originally published electronically on the publisher’s internet portal (currently SpringerLink) on 26 April 2019 without open access.
Journal Article