What do you think?
Rate this book
The Value of Art: Money, Power, Beauty
What is art worth? How can a work by Pablo Picasso be sold for more than $100,000,000? This fascinating book explains the market for art--and art's value for all of us. In straightforward prose that doesn't mystify art or deny its special allure, prominent art dealer and market expert Michael Findlay offers a close up and personal view of almost a half century in the business of art. He engagingly explains art's three kinds of value: commercial; social; and what he terms its essential value--the range of responses to art that we as individuals have depending on our culture, education, and life experience. Few avid collectors are immune to the thrill of rising market value, but Findlay argues that buying for investment alone is seldom smart. A genuine love of art and the ways it may enrich one's social life also play important roles. Down-to-earth and with a touch of dry wit, he explains exactly how artworks are valued and reveals the workings of the art market. Enhancing his narrative are wise advice, insider anecdotes, and tales of scoundrels and scams, celebrity collectors, and remarkable discoveries. Generously illustrated, Findlay's distillation of a lifetime's experience makes this insider's guide indispensable for all who love art, not only collectors but true "amateurs" as well.
208 pages, Hardcover
First published January 1, 2012
108 people are currently reading
1640 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 42 reviews
February 5, 2014
Savvy art worldling Findlay (an insider for over 40 years) gazes deeply into this world and examines 'reasons for buying' : investment, the social ladder, and, for a few (people like us), aesthetic pleasure. Investment-social buyers are, as we know, vulgarians. And always stupid. You see them at the big auctions, their names are familiar to us. The dealers ? Aaah, yes, the familiar names -the media names you know - are using the art world for criminal purposes or gov-asset reasons to promote an "agenda." It's a neat place to "float" anything ! Findlay names no names. He doesn't have to. We know this, especially if you read NYT which pushes the commerciality of the art world and expands the corruption.
Btw, NYT is one of the few papers to ignore Findlay's book. It figures.
Btw, NYT is one of the few papers to ignore Findlay's book. It figures.
September 3, 2012
Really, really great. It took me a little while to make my way through it (as it is with all nonfiction books for me, these days), but I loved how Findlay explained the different approaches to collecting and the art market. What made the book special were all those personal anecdotes he threw in about various collectors he's met over the years and the images interspersed throughout. It was fascinating to learn about a woman in Montana who had a thing for one particular blue period Picasso, and then get to see the image in all it's glory on the opposing page.
July 27, 2018
A very interesting debate from a very experienced man, though I must admit that I didn’t like the writing style that much and I’m not sure that this book left me with that much.
I picked this book up right after the colorful book “seven days in the art world”, so I guess I naturally compared the two and found the difference in tone hard to connect to.
Still, it’s another nice and perhaps important read if you want to learn how the contemporary art world is working financially.
I picked this book up right after the colorful book “seven days in the art world”, so I guess I naturally compared the two and found the difference in tone hard to connect to.
Still, it’s another nice and perhaps important read if you want to learn how the contemporary art world is working financially.
May 15, 2012
Michael Findlay opened a gallery in SoHo in the '60s, showing young artists like John Baldessari and Sean Scully. He would go on to serve as head of Impressionist and modern paintings at the auction giant Christie's, and he's since served as the director of New York's Aquavella Galleries, which specialize in showing and selling the work of 19th and 20th century titans. With a resume like that, it's clear Findlay possesses an acute business-of-art acumen, and would be exactly the guy to write a book called "The Value of Art." Those expecting a droll, ins-and-outs of the sale account of the grimy, speculative art market of the last few decades, though, will be in for a surprise.
While he does spend a substantial amount of time discussing the financial corners of the art world (essential reading for any budding arts professional), the book takes as its premise the idea that the value of art is threefold. The first type of value he tackles is the one with which we'd expect him to be most familiar, the commercial. He shares anecdotes from his years brokering sales both private and public, taking care to protect the names of the most blithe speculators and showy collectors he's worked for. A collector once called asking for something like "any Picasso up to $8,000,000." In this first part he also manages to offer a brief history of the auction spectacle, something very much of the last few decades. It wasn't until '73, with the sale of the Sculls' collection of early Pop work, that a major auction house would start to regularly sell the work of living artists. But not until the Sotheby's sale of Florence Gould's collection of Impressionist works in '85 would we see what Findlay calls the "auction-as-circus." That sale saw a van Gogh painting smash its high estimate of around $5,000,000 and sell for a then-record $10,000,000. Today, applause literally ripples across a sales floor when a Rothko or Warhol goes for $80,000,000, and the ever-growing prices grab headlines around the world.
The second type of value Findlay identifies is the social value, the entry to a certain social circle of like-minded art enthusiasts. This can be all about glamour, sure, as a big canvas by a big-ticket artist is sure to remind or announce to the crowd the wealth of the buyer, but, for many, this legitimately offers a chance to share in a rich cultural history, one which those with an upbringing free of art may be experiencing for the first time. The third value is perhaps the most elusive, but certainly the one most treasured by the best collectors. This is simply the enjoyment of contemplating the work itself. Difficult to define succinctly, while getting at the "essential" value of art, the author shares a quote from Kafka. "[Art] should serve as the axe for the frozen sea within us." Findlay says he can't imagine a collector who doesn't at all consider the commercial value of his collection, but those who buy primarily for the sake of this third value are the ones he champions. Sidney Janis, the man behind the two-pocket short-sleeved shirt, who would later leave fashion to sell art full-time, said the true collector to be "a man who has to buy paintings whether he can afford them or not."
He goes on to offer his opinion about art theories (not theories at all, he says, considering the lack of empirical proof regarding meaning), the best practice for considering works of the past (don't treat the work as a puzzle to be unlocked by studying the bio and history of an artist, he says), and he emphasizes the power of simply looking at as much art as you can to develop an immediate, visceral sense for the types of works you may want to spend more time with later. It's a good book.
While he does spend a substantial amount of time discussing the financial corners of the art world (essential reading for any budding arts professional), the book takes as its premise the idea that the value of art is threefold. The first type of value he tackles is the one with which we'd expect him to be most familiar, the commercial. He shares anecdotes from his years brokering sales both private and public, taking care to protect the names of the most blithe speculators and showy collectors he's worked for. A collector once called asking for something like "any Picasso up to $8,000,000." In this first part he also manages to offer a brief history of the auction spectacle, something very much of the last few decades. It wasn't until '73, with the sale of the Sculls' collection of early Pop work, that a major auction house would start to regularly sell the work of living artists. But not until the Sotheby's sale of Florence Gould's collection of Impressionist works in '85 would we see what Findlay calls the "auction-as-circus." That sale saw a van Gogh painting smash its high estimate of around $5,000,000 and sell for a then-record $10,000,000. Today, applause literally ripples across a sales floor when a Rothko or Warhol goes for $80,000,000, and the ever-growing prices grab headlines around the world.
The second type of value Findlay identifies is the social value, the entry to a certain social circle of like-minded art enthusiasts. This can be all about glamour, sure, as a big canvas by a big-ticket artist is sure to remind or announce to the crowd the wealth of the buyer, but, for many, this legitimately offers a chance to share in a rich cultural history, one which those with an upbringing free of art may be experiencing for the first time. The third value is perhaps the most elusive, but certainly the one most treasured by the best collectors. This is simply the enjoyment of contemplating the work itself. Difficult to define succinctly, while getting at the "essential" value of art, the author shares a quote from Kafka. "[Art] should serve as the axe for the frozen sea within us." Findlay says he can't imagine a collector who doesn't at all consider the commercial value of his collection, but those who buy primarily for the sake of this third value are the ones he champions. Sidney Janis, the man behind the two-pocket short-sleeved shirt, who would later leave fashion to sell art full-time, said the true collector to be "a man who has to buy paintings whether he can afford them or not."
He goes on to offer his opinion about art theories (not theories at all, he says, considering the lack of empirical proof regarding meaning), the best practice for considering works of the past (don't treat the work as a puzzle to be unlocked by studying the bio and history of an artist, he says), and he emphasizes the power of simply looking at as much art as you can to develop an immediate, visceral sense for the types of works you may want to spend more time with later. It's a good book.
August 17, 2020
This book is written by an experienced art dealer. He shares anecdotes and stories of real life events and from his own memories. Stories about private collectors and about auction houses. I was a bit surprised because this book was not quite what I expected it to be. I thought I would learn more about what gives art more value these days (f.e if you are an artist, how do you decide what the value is) but this book is mainly about old masters. Artists like Monet, Picasso, Warhol.
This is not the book to give to art students on how to get into galleries. Or how to decide on a price tag. This is a book about how deeply respected the older generations of art are. And how the value is increased by popular demand, auction houses, media attention.
But this book was very well written, amusing to read and his view on art is authentic and respectful. A lot of people can learn from the way he looks at art. I found myself agreed with nearly (if not all) things he said.. His opinion about audio tours, gift shops, galleries without benches... the fine art world is a strange and mysterious world and I'm sure I don't get all of it, especially what they call 'modern art' these days. But he put things in perspective. I might not get it all, but who knows one day I will.
This is not the book to give to art students on how to get into galleries. Or how to decide on a price tag. This is a book about how deeply respected the older generations of art are. And how the value is increased by popular demand, auction houses, media attention.
But this book was very well written, amusing to read and his view on art is authentic and respectful. A lot of people can learn from the way he looks at art. I found myself agreed with nearly (if not all) things he said.. His opinion about audio tours, gift shops, galleries without benches... the fine art world is a strange and mysterious world and I'm sure I don't get all of it, especially what they call 'modern art' these days. But he put things in perspective. I might not get it all, but who knows one day I will.
June 7, 2013
Michael Findlay is an art dealer, and this book contains a bit too much details about auctions and their prices for me. But he is clearly someone who loves art, and I am in enthusiastic agreement with his comments on the value of actually looking at a painting. For example his comment on P117 - "If I look at a work of art and it leaves me cold, what can I hear or read about it that will profoundly change my attitude? If I look at a work of art and I am profoundly moved, what can I hear or read about it that matters more?".
I liked his advice about how to visit and exhibition - go with at most two friends - each wanders aimlessly, choosing one work they like and spends at least 5 minutes looking at it, and then you each share your thoughts with the others.
I liked his advice about how to visit and exhibition - go with at most two friends - each wanders aimlessly, choosing one work they like and spends at least 5 minutes looking at it, and then you each share your thoughts with the others.
March 20, 2013
There were many interesting revelations in this book. However, there was a lot of filler, like the publisher demanded X-amount of pages when 100 less would have sufficed. With that said, it indulged too much in personal beliefs and less about facts, which is why I bought this. Regardless, it does contain very useful information.
November 11, 2021
It is often said that beauty is in the eye of the beholder. What you may find meaningful, another may find it meaningless. This largely holds true in the art world. Although it’s also clear that certain skill, name recognition, and happenstance may elevate certain pieces to be worth tens, sometimes hundreds of millions of dollars.
I would consider myself a very casual art appreciator. I enjoy going to galleries, and have even experimented with producing acrylic paintings. But I don’t know the intricacies of art and its storied history in the slightest. Luckily, we have Michael Findlay, art expert and dealer, and author of The Value of Art: Money, Power, Beauty. Findlay is incredibly detailed and knowledgeable about the art world, especially pertaining to art auctions. He is also clearly well-established, having been involved in the business for a long time.
Fair warning - as a non-art person, this book can get quite confusing and wordy. It’s clear Findlay has made an effort for art novices to be able to pick up his book, but it’s often not enough. There’s a lot to unpack, with lots of details on how the mystical world of art auctions works. It can get confusing.
The book picks up relatively early on when Findlay talks about how the market value of art is determined. It’s broken down into five elements. The first is “provenance”. This is basically a history of ownership. Findlay mentions how a piece of art owned by a celebrated collector or distinguished museum will lend more value to a modest/average quality of art vs a great work that hasn’t had any noteworthy collectors. The second is condition, which is often determined by a professional conservator and based on a wide variety of factors. The third is authenticity, as sometimes people will try to swindle dealers with fake pieces of art. It’s often determined that the piece of work is either deemed by the market to be right or wrong, worth something or worth nothing.
The fourth element is exposure. Collectors are often asked to lend their works of art to museums. Having a piece travel in a tour to major cities will not only allow many people to see and appreciate the piece, but the exposure may raise the commercial value of the art. The last element is quality. This is a bit more subjective than the others. But, according to Findlay, it involves mastery of the medium, clarity of execution, and authority of expression.
From an investment perspective, art may appear to be a good investment due to potential appreciation in value over time and it being a consumer durable with aesthetic potential. And there are loads of anecdotal examples of pieces being bought for a few thousand dollars that end up ballooning to millions years down the road. But it has a lack of liquidity and carries high commissions to buy and sell. The buyers can pay premiums usually at 35%. Can you imagine if an ETF had a 35% fee, and still underperformed the S&P index? That’s the art market. However, Findlay makes it known that art isn’t the best investment. What can set it apart, he mentions, is that “...art, unlike a financial instrument, has an independent existence as an object."
Findlay comes across as an expert, but also can write in a smug, slightly condescending way (like how he hates museum goers who listen to audio guides in museums - which he describes as “zombies”). He’s old-school in a way that matches what you think an affluent European gallery director would be like. This is bolstered by his anecdotes of extravagant dinners he’s gone to and famous artists and heirs he’s bumped shoulders with.
However, I will say that Findlay does encourage people to go to museums to experience art, and doesn’t care whether or not you know art - just that it makes you think and feel. He sums up this sentiment by stating “… facts about a work of art should not be confused with what it might mean to you.” This made me feel a bit better about my otherwise non-existent knowledge of famous artists and art movements and styles.
The Value of Art was a bit of a slog to get through. It is dense and detailed. There were occasional anecdotes that were interesting, and it was fun to hear someone so passionate and knowledgeable about his craft share his insights. However, it did also feel odd reading about a market that caters to very high net worth individuals. 3 / 5 - would only recommend it if you have an interest in art pertaining to art auctions and appraisals.
I would consider myself a very casual art appreciator. I enjoy going to galleries, and have even experimented with producing acrylic paintings. But I don’t know the intricacies of art and its storied history in the slightest. Luckily, we have Michael Findlay, art expert and dealer, and author of The Value of Art: Money, Power, Beauty. Findlay is incredibly detailed and knowledgeable about the art world, especially pertaining to art auctions. He is also clearly well-established, having been involved in the business for a long time.
Fair warning - as a non-art person, this book can get quite confusing and wordy. It’s clear Findlay has made an effort for art novices to be able to pick up his book, but it’s often not enough. There’s a lot to unpack, with lots of details on how the mystical world of art auctions works. It can get confusing.
The book picks up relatively early on when Findlay talks about how the market value of art is determined. It’s broken down into five elements. The first is “provenance”. This is basically a history of ownership. Findlay mentions how a piece of art owned by a celebrated collector or distinguished museum will lend more value to a modest/average quality of art vs a great work that hasn’t had any noteworthy collectors. The second is condition, which is often determined by a professional conservator and based on a wide variety of factors. The third is authenticity, as sometimes people will try to swindle dealers with fake pieces of art. It’s often determined that the piece of work is either deemed by the market to be right or wrong, worth something or worth nothing.
The fourth element is exposure. Collectors are often asked to lend their works of art to museums. Having a piece travel in a tour to major cities will not only allow many people to see and appreciate the piece, but the exposure may raise the commercial value of the art. The last element is quality. This is a bit more subjective than the others. But, according to Findlay, it involves mastery of the medium, clarity of execution, and authority of expression.
From an investment perspective, art may appear to be a good investment due to potential appreciation in value over time and it being a consumer durable with aesthetic potential. And there are loads of anecdotal examples of pieces being bought for a few thousand dollars that end up ballooning to millions years down the road. But it has a lack of liquidity and carries high commissions to buy and sell. The buyers can pay premiums usually at 35%. Can you imagine if an ETF had a 35% fee, and still underperformed the S&P index? That’s the art market. However, Findlay makes it known that art isn’t the best investment. What can set it apart, he mentions, is that “...art, unlike a financial instrument, has an independent existence as an object."
Findlay comes across as an expert, but also can write in a smug, slightly condescending way (like how he hates museum goers who listen to audio guides in museums - which he describes as “zombies”). He’s old-school in a way that matches what you think an affluent European gallery director would be like. This is bolstered by his anecdotes of extravagant dinners he’s gone to and famous artists and heirs he’s bumped shoulders with.
However, I will say that Findlay does encourage people to go to museums to experience art, and doesn’t care whether or not you know art - just that it makes you think and feel. He sums up this sentiment by stating “… facts about a work of art should not be confused with what it might mean to you.” This made me feel a bit better about my otherwise non-existent knowledge of famous artists and art movements and styles.
The Value of Art was a bit of a slog to get through. It is dense and detailed. There were occasional anecdotes that were interesting, and it was fun to hear someone so passionate and knowledgeable about his craft share his insights. However, it did also feel odd reading about a market that caters to very high net worth individuals. 3 / 5 - would only recommend it if you have an interest in art pertaining to art auctions and appraisals.
July 29, 2013
An interesting look at art - how we value it, how it becomes valuable and why, and the importance of having it in our lives. It was nice to have his thoughts divided into the three aspects we see art in - the economic, or commodity of art, the social aspect of art and the enjoyment of it. Seeing it in such bared down terms, it has made me appreciate some things about it that I hadn't given much thought to. Being an artist - or at least, having the desire to create art but never feeling fulfilled in those goals - I was curious to see what he saw the 'value' of art was. Happily, it seems to fit all the molds - an investment tool (albeit an unstable one), a social status ("look what I just picked up") and something to give great joy for no greater reason than "just because".
Ultimately, his greatest advice was to simply establish a relationship with it. Follow your heart and don't apologize for what moves you. Art speaks to different people in different ways and there are no wrong turns or errors. That is the true value of art.
Ultimately, his greatest advice was to simply establish a relationship with it. Follow your heart and don't apologize for what moves you. Art speaks to different people in different ways and there are no wrong turns or errors. That is the true value of art.
December 19, 2022
Half of the book is definitely not new/updated version, but a copy-paste of the 2012 edition. Also, I was expecting more insides from an art dealer and real life experience rather an aim for a philosophical view to art. The book worth reading though.
July 5, 2020
XX a. 8 dešimtmetyje atidarytos vienos pirmųjų „SoHo“ galerijų savininkas ir 18 metų „Christie’s“ aukciono namų vieno padalinių vadovas bei valdybos narys Michaelas Findlay’us – neginčytinai vienas įdomiausių meno rinkos ekspertų.
Knyga „Meno vertė. Pinigai, jėga, grožis“ sudaryta iš 4 skyrių, tačiau norisi atkreipti dėmesį, jog kaip metaforą pasitelkęs trijų Dzeuso dukrų istoriją autorius pirmiesiems 3 skyriams suteikia trijų charičių vardus. Į šiuos skyrius labiausiai ir norėtųsi atkreipti dėmesį. Pirmas – „Talėja“ (gausos, derlingumo ir vaisingumo deivė) – skirtas komercijai, rinkai ir meno vertės susidarymo ciklams. Antras – „Eufrosinė“ (džiaugsmo deivė) – visuomenei aptarti. Jame nagrinėjami meno kolekcijų paveldėjimo atvejai, menininkų socialinio statuso įtaka jų kūrinių populiarumui ir vidutines pajamas turinčių meno kolekcionierių pasirinkimai. Trečias skyrius – „Aglaja“ (grožio deivė) – kvestionuoti grožio sampratai. Autorius aptaria pagrindines ir didžiausią įtaką padariusias meno teorijas, dekoratyvumo poveikį žiūrovui ir šliuzuojančio požiūrio „gražu negražu“ poveikį meno kūriniui bei jo pamėgimui. Taigi pagrindinė knygos dalis įdomiausia. Kodėl? Nes autorius kalba apie nuolat kintančius veiksnius, nepriklausomai nuo vilčių, norų ir siekių. Ketvirtame skyriuje „Marley’o vaiduoklis“ kalbama apie dabartinės rinkos problemas ir naujus iššūkius, kuriuos vargiai ta pati karta begalės išspręsti. Ko gero, įdomiausia šio skyriaus dalis – „Mūsų aukso amžius“, o jo pagrindinė mintis ta, kad pasiektas ne meno kūrinių meilės, o jų išnaudojimo aukščiausias lygis, kai pranyksta viena meno kūrinio verčių – grožis.
Ar „Meno vertė. Pinigai, jėga, grožis“ turi trūkumų? Taip: 1) knyga nėra parašyta lengva kalba, veikiausiai jos traukinyje, autobuse ar prieš miegą skaityti tiesiog nepavyks; 2) apimtis nėra maža – patrauklumo neprideda; 3) autorius dažnai referuoja į filosofus, jų veikalus bei terminus, tad neapsiginklavus pagrindinėmis filosofinėmis žiniomis labai gali būti, kad pirkiniu liksite nusivylę.
Išversta į lietuvių kalbą: NE | Įvertinimas: 8/10
Knyga „Meno vertė. Pinigai, jėga, grožis“ sudaryta iš 4 skyrių, tačiau norisi atkreipti dėmesį, jog kaip metaforą pasitelkęs trijų Dzeuso dukrų istoriją autorius pirmiesiems 3 skyriams suteikia trijų charičių vardus. Į šiuos skyrius labiausiai ir norėtųsi atkreipti dėmesį. Pirmas – „Talėja“ (gausos, derlingumo ir vaisingumo deivė) – skirtas komercijai, rinkai ir meno vertės susidarymo ciklams. Antras – „Eufrosinė“ (džiaugsmo deivė) – visuomenei aptarti. Jame nagrinėjami meno kolekcijų paveldėjimo atvejai, menininkų socialinio statuso įtaka jų kūrinių populiarumui ir vidutines pajamas turinčių meno kolekcionierių pasirinkimai. Trečias skyrius – „Aglaja“ (grožio deivė) – kvestionuoti grožio sampratai. Autorius aptaria pagrindines ir didžiausią įtaką padariusias meno teorijas, dekoratyvumo poveikį žiūrovui ir šliuzuojančio požiūrio „gražu negražu“ poveikį meno kūriniui bei jo pamėgimui. Taigi pagrindinė knygos dalis įdomiausia. Kodėl? Nes autorius kalba apie nuolat kintančius veiksnius, nepriklausomai nuo vilčių, norų ir siekių. Ketvirtame skyriuje „Marley’o vaiduoklis“ kalbama apie dabartinės rinkos problemas ir naujus iššūkius, kuriuos vargiai ta pati karta begalės išspręsti. Ko gero, įdomiausia šio skyriaus dalis – „Mūsų aukso amžius“, o jo pagrindinė mintis ta, kad pasiektas ne meno kūrinių meilės, o jų išnaudojimo aukščiausias lygis, kai pranyksta viena meno kūrinio verčių – grožis.
Ar „Meno vertė. Pinigai, jėga, grožis“ turi trūkumų? Taip: 1) knyga nėra parašyta lengva kalba, veikiausiai jos traukinyje, autobuse ar prieš miegą skaityti tiesiog nepavyks; 2) apimtis nėra maža – patrauklumo neprideda; 3) autorius dažnai referuoja į filosofus, jų veikalus bei terminus, tad neapsiginklavus pagrindinėmis filosofinėmis žiniomis labai gali būti, kad pirkiniu liksite nusivylę.
Išversta į lietuvių kalbą: NE | Įvertinimas: 8/10
May 27, 2025
i love the concept of the book & how the book is structured. i found some chapters fantastic & well-written while others were a lot more lackluster & riddled with editing errors. overall, the book was very interesting & informational but i think i just didn't click with findlay's writing style (so maybe others would enjoy it more). there were definitely parts of the book where i found findlay to be overly pretentious & literally had to put the book down for a bit to scoff, laugh, or take a break and moments where it felt like he was rambling on, going on a tangent, or discussing something marginally or not at all related (maybe because additions & updates have been made since the book was originally published?). throughout the book, there were many areas in which it felt like there were gaps, perhaps understandable because trying to cover so much material is quite the undertaking, but one instance in which i found the book lacking was in the discussion of feminist art. when covering artists belonging to & identifying with minority groups, it seemed like findlay was gearing up to discuss female artists & feminist art & then he just...didn't. he didn't really acknowledge any artists of multiple different minority groups despite identity being the major point of that chapter & it felt like he just jumped straight to environmental activism in art & skipped a chapter (or several). i actually really enjoyed the allegory in the afterword & it felt like a very full-circle moment - i just wish that he would have spent more time discussing & developing that allegory instead of on smaller, more niche, or less interesting topics, like NFT art. regardless, i do think that this is an important read for those interested in art history &/or art finance.
November 3, 2024
I liked it. Michael Findlay divides this book into 4 sections examining: the commercial value of art; the social value of art; the essential value of art (aura, essence, personal connection / meaning, art for the soul); and general + recent trends in the art market (+analysis/opinions). Findlay, whose claim to expertise lies in his several-decades-long career selling and buying art as a collector and dealer, is a a staunch critic of art-investment. Findlay stresses over-and-over in this book the importance of developing taste / opinions on art and making purchases based on your own preferences / reactions to the art itself. I don't know how much of this attitude towards art-investment is signaling, but it's an opinion which I share + most people would think is reasonable. Anyhow, I really don't have too many thoughts on this book. It was very fun / illuminating to learn about the inside workings of the art market, the culture surrounding art collection, and the informal + formal organizational structures which loosely form the art market. Would love to read an updated edition of this book, I'd love to learn more about the state of the art market in 2024 and how different it is in a post-pandemic world.
September 29, 2019
An introductory book to the art market. The book is interesting as the art market is always obscure and unknown to general public. The author has deep knowledge given his professional background and the details over the different actor in the market is very informative.
I tend to agree with the author that at the end, art is about personal taste. So lets just sit back and let the art piece impact you without considering its monetary value or historical background.
I tend to agree with the author that at the end, art is about personal taste. So lets just sit back and let the art piece impact you without considering its monetary value or historical background.
September 12, 2022
This is a comprehensive look at how art accrues value, looking at auctions, primary sales and the role of collectors and museums in driving the value of art.
It's rather dry in parts especially in the early chapters when throwing numbers at the reader. It's more fun when the author shares often snarky anecdotes about his experience in the art world.
Plus the addition of new chapters in the 2022 edition around NFTs and activism brings it right up to date.
It's rather dry in parts especially in the early chapters when throwing numbers at the reader. It's more fun when the author shares often snarky anecdotes about his experience in the art world.
Plus the addition of new chapters in the 2022 edition around NFTs and activism brings it right up to date.
November 3, 2023
This was a reread, probably 10 years apart. I’m surprised this didn’t impact me the way it did this time around and I now realize I had been “doing art” all wrong. While I was focused on what moved me I was too influenced by who had made the paining as well as all the other information contained on the plaque next to the piece. As I look to bring my four year old son to more galleries and museums I will take many lessons from this book.
February 20, 2020
The art world anecdotes are fun, and I definitely learned a bit about art collecting. However I felt the author was holding back too much on saying why he thought certain works were valuable and instead went for the safe bet of just telling people to go with their gut. Also a bit heavy on the namedropping.
January 21, 2021
“Our interest in a work of art can be sparked by information and opinions of others, but total appreciation and enjoyment of it can only come when we concentrate on it in a relaxed but fundamentally attentive manner, surrender our prejudices, and trust our eyes.”
October 17, 2017
Excellent on the monetary value of art, interesting on the social value of art, and undistinguished on art's "intrinsic" value - perhaps as one would expect of an art dealer!
August 18, 2019
Liked it a lot. Read it quickly.
August 15, 2020
Inspiring book that will deliver for novice and experts. Well illustrated and pleasant to read.
Want to read
August 16, 2020Pamela recommend.
This entire review has been hidden because of spoilers.
September 16, 2020
Interesting and well written. Too short and has a lot of fluff unfortunately.
September 17, 2020
Excellent
A proper and wide ranging appreciation of the value of art which takes in money, social enhancement and how to appreciate it best.
A proper and wide ranging appreciation of the value of art which takes in money, social enhancement and how to appreciate it best.
March 20, 2021
It’s actually made me want to visit an art gallery - quite an achievement
July 15, 2021
A very educational read, and I particularly enjoyed the inclusion of his personal experience and the occasional sprinkle of sarcasm.
March 3, 2022
Informative, fun, easy to read. Cannot put down the book until finishing reading type
November 10, 2023
ya sólo voy a leer cosas para el TFG chicas *~*
April 6, 2025
“As a general rule, when something becomes useful, it ceases to be beautiful.” - Théophile Gauthier, 1811-1872
Displaying 1 - 30 of 42 reviews