REMINDER:

▓ (green square) from research

▓ (orange square) my notes

Referencing, Bibliography, Research and Comments

CHAPTER I

Vasari, G., Bondanella, J. C. and Bondanella, P. E.

The lives of the artists

In-text: (Vasari, Bondanella and Bondanella, 1998)

Bibliography: Vasari, G., Bondanella, J. and Bondanella, P. (1998). The lives of the artists.

Oxford: Oxford University Press.

▓ p. 450 “..this occurred when Michelangelo, seeking the pope‟s permission to go to spend

the feast day of Saint John in Florence, asked him for some money for this purpose, and the

pope sad: „Well, what about this chapel? When will it be finished?‟

„When I can, Holy Father,‟ replied Michelangelo. The pope, who had a staff in his hand,

struck Michelangelo with it as he declared: „When I can, when I can: I‟ll make you finish it

myself!‟”

▓ This may be some sort of evidence to remind that we all have to work to serve our basic

needs. This implies that „free will‟ is an ideological term based on subjective parameters and

in practical/real life it doesn‟t exist. Whether you choose to eat an apple or an orange, you will

choose to eat one of them anyway.

Patrick, J.

Renaissance and Reformation

In-text: (Patrick, 2007)

Bibliography: Patrick, J. (2007). Renaissance and Reformation. New York: Marshall

Cavendish.

▓ p. 193 “Owing to his wealth and social standing, Tiberio Cerasi could afford a chapel in the

Church of Santa Maria del Popolo and, furthermore, could commission the two leading artists

of the day, Caravaggio and Annibale Carracci (1560-1609), to produce works for the chapel.”

▓ This is clear evidence that, at Renaissance, artists were mostly working for the church as an

institution, for it was the most powerful one of their time. This may support my argument that

power shifts, so art will always exist in a form of work. Nowadays this power has just been

shifting somewhere, like internet, and from the Renaissance till now I will track where and

how this has been happening.

McNeese, T. and Waites, J. C.

The Renaissance (1300-1500)

In-text: (McNeese and Waites, n.d.)

Bibliography: McNeese, T. and Waites, J. (n.d.). The Renaissance (1300-1500). Lorenz

Educational Press

▓ p. 21 “During the Renaissance, many painters continued to rely on Biblical and religious

subjects. However, just as scholars were discovering Classical Greek and Roman literature, so

Renaissance painters were painting scenes of Greek mythology, Roman history, and other

secular subjects.”

▓ Apparently there were no many options to expand one artist‟s creativity apart from:

aristocratic, religious and/or historical motifs like Greek references. For the requests were

commissioned in these sectors in its great majority, if not totally. Artists had no option to

survive and make a living from art if not serving aristocratic and religious powers of their

time. I want to conclude my paper in a simple equation that every artist can make a living

from art, I aim to track where the demand shifted to and why to unveil a final contemporary

equation. I will give evidence when arguing about my own experience in the field as well.

McAndrew, C.

Fine Art and High Finance

In-text: (McAndrew, 2010)

Bibliography: McAndrew, C. (2010). Fine Art and High Finance. New York, NY: John

Wiley & Sons.

▓ p.XX “Many historians mark the period following the Industrial Revolution, when art began

to become more widely traded and the primary role of the patron was diminished, as the

impetus of today‟s modern art market. The birth of a new middle class in this era brought a

new breed of collector to the art market who, for the first time, had both the time and the

money to collect art.”

▓ The Industrial Revolution is evidently a key factor for the birth of Modern art, subsequently

Postmodern Art and so on. Yet, it‟s from here that the most important part of my theory start

taking shape. Altogether with Industrial Revolution a very new, strong and very defined

equation of power&art was born: the industrialization of sectors, and not in a so metaphoric

way: the industrialization of the life style. The industrialized consumerist mentality nowadays

is everywhere, and so in art as well, adding the digital revolution from 1990‟s we got

something taken to the “life made banal” in people mentality, a danger and a facility that

fascinates, destroys and enriches civilians.

▓ p.XX+1”During the eighteenth century, Britain and France emerged as the major global art

markets and the key centers for trade, while countries such as Italy acted as primary source

markets for wealthy Europeans buyers.”

▓ England, France, Italy, Europe in general and North America. Ethnographically basing my

research in this parts of the globe I may find a good way to represent which are still the

dominant continents nowadays. Whether the power shifted among these countries, is not

relevant. Perhaps when the paper starts unfolding theories from 1990‟s, ethnography may

change conceptually, for internet broke the barriers of geographic location and the industries

rearrange themselves according to people‟s interest wherever they are in the globe. Through

internet and the post office, an individual (and/or a whole dedicated market) can make

his/her/their living depending exclusively from another‟s countries. The digital revolution in

my theory is of exponential importance as much as the industrial revolution was and still is.

One just add to another multiplying possibilities.

▓ p.XX+2”During the 1800s, a variety of factors caused a geographic shift in the art market

from London to Paris” .. “American buyers began to dominate the global art trade during the

recessionary bear markets of the 1920s and 1930s.” … “Paris had a temporary revival as a

world art center during the 1950s and 1960s: however, over the 1960s, New York and London

dominated, largely due to their established bases of wealth and economic power” …

“Although sales in many sectors were eventually affected by wider economic events like the

oil crisis in 1973, art was being increasingly bought by investors and speculators as well as by

collectors.”

▓ “Throughout the 1970s, the distinctions between the two international art capitals also

became more defined: New York took premiere position for the trade in sectors such as

Contemporary art, Impressionists, Post-Impressionists and others, while London was the

international center for Old Masters, English and French eighteen-century art, and Asian

antiques.”

▓ “During the global prosperity of the 1980s, all of the established art centers flourished, and

it became hugely popular and often very profitable to buy art.”

▓ Here a great example that a specific market never fades, but just shifts. There is a good

comparison here that, for example, the power of the traditional art gallery has been shifting to

sales made virtually in internet. But just to quote „internet‟ is already a too broad term, Where

and how in internet is possible to make a living from art? How long does it take? What‟s the

best strategy? What are the „numbers‟? I have got all these answers interviewing a few

contemporary artists and art collectors that actually make it work and will exemplify their

ideas in these paper.

▓ On 1970‟s some sort of power ethnographically shifted to the USA in Fine Arts, but this

was just a reflection of USA great economic growth, for art lives stronger where power is

installed.

▓ 1980‟s was just the last decade where art had its traditional places stronger: galleries and

traditional art collectors. On 1990‟s, with the beginning of the internet revolution, this power

started shifting to the digital world, or at least expanding, to a later definite shift. It‟s important

to quote that Art always had and will always have its place in the market, for it is an

experience to the observer, and it shall always be. And because of that it‟s important to quote

that art doesn‟t fade, never did and never will. It is a human need to consume art, whether it

diversifies in cinema, music and traditionally the fine arts.

▓ p.XX+3 “..in 1990 and 1991, the art market has steadily advanced in terms of volume and

value.” … “Although most international markets showed a slight dip in 2002-2003, from that

point until the end of 2008 the market as a whole and many of the categories within it, have

been on rapidly advancing paths of growth in terms of both individual prices and overall

aggregate value.” … “A particularly noticeable trend in recent years has been that fine art has

risen in value both in absolute terms and in relation to decorative art.”

▓ This may be probably due to the enhanced networking that internet revolutionized,

connecting buyers and sellers in a new sphere not existent before.

p.xx+7 “..the Contemporary sector was one of the worst hit within the art market in the fallout

of the economic crisis of 2007 and 2008”

▓ Here is where my theory shapes stronger: From 2007/2008 till now, internet is no longer a

solely option in the market, it has been becoming the rule. For example: some items we can‟t

find in the High Street, but we find it very cheap on eBay, just because trading websites have

been becoming more reliable since its start on 1990‟s and now the ordinary buyer once having

internet as an alternative, now is definitely migrating to it. Basically, in the Fine Arts, the

galleries are in crisis because, at some extent, their power invisibly has been migrating to the

internet.

▓ Here the good-enough mentality shapes consistently in the collective mentality: The

amateur artist finds a place in internet, and the amateur art collector is satisfied with the low

price even though the quality is not like in the galleries. This extends to everything, in music

for example a CD has less quality than a Vinil, and a mp3 track has less quality than a CD, but

the mp3 is practically for free, so even though the quality is much lower than a Vinil, it

becomes the best option for its convenience. Same for cheap plastic Chinese products etc, the

mp3 is good enough. Same for landline versus Skype: sometimes Skype quality is terrible but

we keep it as first option, because it is for free, and it‟s “good enough”, even though it‟s worse

than a mobile or a landline connection at times.

Beaumont, M.

As radical as reality Itself

In-text: (Beaumont, 2007)

Bibliography: Beaumont, M. (2007). As radical as reality Itself. Oxford: Peter Lang.

In-text: and in temporary manner where the artist’s face is ridiculed an mocked by the

media. Wilsher, (Wilsher M., 2009, p. 12) bitterly expresses

Bibliography: Wilsher M. (2009) ‘Beyond Public Art’, Art Monthly, 331(11), pp. 11-14.

==

Miller, H. and Miller, C.

A proper living from your art

In-text: (Miller and Miller, 2004)

Bibliography: Miller, H. and Miller, C. (2004). A proper living from your art. [England?]:

Artist Solution.

==

Menger, P.

Artistic Labor Markets and Careers

In-text: (Menger, 1999)

Bibliography: Menger, P. (1999). Artistic Labor Markets and Careers. Annu. Rev. Sociol.,

25(74), pp.541-574.

==

O'Neil, K. M.

Bringing art to market: The diversity of pricing styles in a local art market

In-text: (O'Neil, 2008)

Bibliography: O'Neil, K. (2008). Bringing art to market: The diversity of pricing styles in a

local art market. Croft Institute for International Studies, University of Mississippi, 36, pp.94-

113.

==

Comunian, R., Faggian, A. and Cher, Q.

Unrewarded Careers in the Creative Class: The Strange case of bohemian graduates

In-text: (Comunian, Faggian and Cher, 2010)

Bibliography: Comunian, R., Faggian, A. and Cher, Q. (2010). Unrewarded Careers in the

Creative Class: The Strange case of bohemian graduates. Papers in Regional Science, 89(2),

pp.389-410.

==

Lindemann, D. J.

What Happens to Artistic Aspirants Who Do Not "Succeed''? A Research Note From the

Strategic National Arts Alumni Project

In-text: (Lindemann, 2013)

Bibliography: Lindemann, D. (2013). What Happens to Artistic Aspirants Who Do Not

"Succeed''? A Research Note From the Strategic National Arts Alumni Project. Work and

Occupations, 40(4), pp.465-480.

UEL library:

Fortnum, R.

Contemporary British women artists

In-text: (Fortnum, 2007)

Bibliography: Fortnum, R. (2007). Contemporary British women artists. London: I.B. Tauris.

==

Bull, G., Porter, P., Michelangelo Buonarroti and Condivi, A.

Michelangelo, life, letters, and poetry

In-text: (Bull et al., 1987)

Bibliography: Bull, G., Porter, P., Michelangelo Buonarroti, and Condivi, A. (1987).

Michelangelo, life, letters, and poetry. Oxford [Oxfordshire]: Oxford University Press.

==

Letts, R. M.

The Cambridge introduction to art

In-text: (Letts, 1992)

Bibliography: Letts, R. (1992). The Cambridge introduction to art. Cambridge: Cambridge

university press.

==

Beard, M. and Henderson, J.

Classical art

In-text: (Beard and Henderson, 2001)

Bibliography: Beard, M. and Henderson, J. (2001). Classical art. Oxford: Oxford University

Press.

==

Walker, S.

Roman art

In-text: (Walker, 1991)

Bibliography: Walker, S. (1991). Roman art. Cambridge, Mass.: Harvard University Press.

==

Douglas, A. and James, N. P.

Artists' stories

In-text: (Douglas and James, 1995)

Bibliography: Douglas, A. and James, N. (1995). Artists' stories. Sunderland: AN Publications.

==

British art

In-text: (Freeman, 2006)

Bibliography: Freeman, J. (2006). British art. London: Southbank.

SAME THING, BUT IN ALPHABETIC ORDER

References

Beard, M. and Henderson, J. (2001). Classical art. Oxford: Oxford University Press.

Beaumont, M. (2007). As radical as reality Itself. Oxford: Peter Lang.

Bull, G., Porter, P., Michelangelo Buonarroti, and Condivi, A. (1987). Michelangelo, life,

letters, and poetry. Oxford [Oxfordshire]: Oxford University Press.

Churchich, N. (1994). Marxism and Morality: A Critical Examination of Marxist Ethics. England: WBC Bookbinders, p.286.

Comunian, R., Faggian, A. and Cher, Q. (2010). Unrewarded Careers in the Creative Class:

The Strange case of bohemian graduates. Papers in Regional Science, 89(2), pp.389-410.

Douglas, A. and James, N. (1995). Artists' stories. Sunderland: AN Publications.

Fortnum, R. (2007). Contemporary British women artists. London: I.B. Tauris.

Freeman, J. (2006). British art. London: Southbank.

Letts, R. (1992). The Cambridge introduction to art. Cambridge: Cambridge university press.

Lindemann, D. (2013). What Happens to Artistic Aspirants Who Do Not "Succeed''? A

Research Note From the Strategic National Arts Alumni Project. Work and Occupations,

40(4), pp.465-480.

McAndrew, C. (2010). Fine Art and High Finance. New York, NY: John Wiley & Sons.

McNeese, T. and Waites, J. (n.d.). The Renaissance (1300-1500).

Menger, P. (1999). Artistic Labor Markets and Careers. Annu. Rev. Sociol., 25(74), pp.541-574.

Miller, H. and Miller, C. (2004). A proper living from your art. [England?]: Artist Solution.

O'Neil, K. (2008). Bringing art to market: The diversity of pricing styles in a local art market.

Croft Institute for International Studies, University of Mississippi, 36, pp.94-113.

Patrick, J. (2007). Renaissance and Reformation. New York: Marshall Cavendish.

Rigby, S. (1998). Marxism and history. Manchester: Manchester University Press, p.31.

Vasari, G., Bondanella, J. and Bondanella, P. (1998). The lives of the artists. Oxford: Oxford University Press.

Walker, S. (1991). Roman art. Cambridge, Mass.: Harvard University Press.

Wilsher M. (2009) „Beyond Public Art‟, Art Monthly, 331(11), pp. 11-14.

▓ In my visit to the National Gallery I had the opportunity to take a few pictures of

Renaissance paintings just to illustrate the dominance of Religious, Aristocratic and Mythic

motifs in paintings of the time, in this case: religious. Guercino, Italian artist, used to make his

living from art by painting for the church like his contemporaries. I bring to light that Power

and Art sustain each other to exist, as much as the artist and the observer.

▓ This brilliant, astonishing, fantastic painting, also in Renaissance/religious context, makes

me think that an Artist, even though into the Religious authority of the time, could express

his/her artistic beauty and creativity through the process of painting, improved techniques and

everywhere as soon as the idea/concept, in the case religious, was kept intact. And basically

showing his work, as an individual artist, through the quality and creativity, even though

limited by Religious context, of his her work.

▓ Unfortunately I

couldn‟t take pictures of

Balke P. paintings, but

from the text we can

note that emerging with

the industrial

revolution, emerged the

middle class, which

were able to afford

paintings in different

themes than the ones

described before. So

here the artist had room

to make landscapes in a

more personalised,

individual form of

expression to serve

himself and the

observer better.

▓ But here I can also mention my theory of Consequential Inventions, eg; Monet and the

Impressionists were just at the right time, at the right place in history, if it was not them to

create the Impressionist style, someone else would do. I believe the context is stronger that the

artist‟s will. And now we are in time of digital revolution in history, where „changes‟ are no

exception anytime in history. It‟s all about figuring out what is the next blooming change and

take control on it. Monet perceived the middle class, with a new power of consume, was

wishing something new in art, and so he did. Even though that was a paradigm for the time,

but so he insisted and made them see the change that had to bloom.

▓ In my visit to Switzerland years

ago, 2010, I could witness in the

National Gallery of Zurich many of

Monet huge panels. Looking back at

those pictures and memories of my

visit, today I can quote that those

possibilities of a more free artist

expression had the space due to the

industrial revolution as I quoted.

(update: I should had quoted Marx K. here, but I didn‟t know I was reinventing his theories.

Later in this journal I will quote him properly. It‟s hard to be original in this world, I think

hard, have an idea, research, and „boom‟, someone thought about that before. That‟s why there

is no vacancies for genius nowadays. If I was born in his time, that would be me in history

books today. No need to be modest, most of us may share the same feeling at moments in life.

„boom‟).

▓ Now in the digital revolution, I have the feeling I have all the pieces of the jigsaw in my

hands, I am just putting them together and figuring out the best track I could design in the

internet revolution, in the digital era.

▓ Nowadays, talking solely about “internet” became a too broad term. Here is an example of

my personal journey tracking “where” in internet things could happen.

▓ Aware that having a personal Website is like having an isolated island. People may visit it

once, but then never come back again, so it‟s doesn‟t work all alone. So that would not be the

main tool to generate sales, at least initially.

▓ Then starting from the principle that business are where people are, things unfolded in the

following manner:

▓ Since 2006, when I started working with art, I designed a personal equation that worked for

me for many years till I decided to start university in 2012, when I had to dedicate more time

to my studies. Without a graduation I had difficult access to galleries and the traditional world

of art trade. Then working according to the equation bellow, I managed to survive for many

years generating an income high enough to afford myself a small box room in a flatshare.

Times were hard, but I was making my living from art, and this we don‟t listen very often

from artists in general.

▓

Till today this equation still works for me. Now that I am about to graduate and my art

achieved solid academic standards, sales have been happening naturally at amounts of money

I never dreamed before. The crucial point in the equation is that those 200 art collectors come

from a group of at least 5000 sales, so they are a selected group that are really tuned with my

style of art.

▓ One reseller of my art, whom has a personal website where he sells many type of items

including art, disclosed to me his income from the website, despite he asked to not disclose his

identity:

▓ “I just ran a quick report and in 2014 I sold 438 painting, drawings non aceo. 367 (84%)

average ticket $264 online, 48 (11%) at outdoor events average ticket $80 and 23 at galleries

average ticket $675. My 84/10/5 estimate was pretty close.

▓ Note that was only painting and drawings. keep in mind I buy and sell so I actually made

around 55-60k on paintings and drawings last year.

▓ January is always slow and Feb.-April sales are good because everyone gets there income

tax checks and has disposable income available.

▓ Not to worry I will put a lot more effort to move your items in a couple weeks. after

Christmas I have a hard time selling anywhere.”

▓ What means solely the Fine Art in his website, which he manages only by himself, he

generated an income in 2014 of about 60 thousand dollars, for he and family live in the USA.

▓ Yet, he sells it worldwide like I do, so ethnographically speaking, globalization dismounts

the idea of geographic location. All that we need is a post office near bye and a computer

connected to the internet. Theoretically speaking, one can live in the most remote place on

Earth as soon as there is a post office and internet available. The business keeps running 24/7

no matter how much one travel or life style is.

▓ **Update: I spoke to my art collector and reseller, and he gave permission to disclose solely

his website address for the purpose of research in the academy, which is:

www.zanybuy.com

In the cover page I could find many of my own artwork he‟s reselling.

▓ What many artists, trying to make a living from art, can‟t perceive yet, is „how to write an

equation that works for you‟.

▓ Karl Marx

▓ According to Marxist philosophy in the Relations of Production in The Poverty of

Philosophy

(Churchich, 1994, p.286) “It is not the consciousness of men that determines their existence,

but their social existence that determines their consciousness”

In-text: (Churchich, 1994)

Bibliography: Churchich, N. (1994). Marxism and Morality: A Critical Examination of Marxist Ethics.

England: WBC Bookbinders, p.286.

▓ (Rigby, 1998, p.31) “Social relations are closely bound up with productive forces. In

acquiring new productive forces men change their mode of production; and in changing their

mode of production, in changing the way of earning their living, they change all their social

relations.”

In-text: (Rigby, 1998)

Bibliography: Rigby, S. (1998). Marxism and history. Manchester: Manchester University Press.

▓ ”The hand-mill gives you society with the feudal lord; the steam-mill society with the

industrial capitalist. The same men who establish their social relations in conformity with the

material productivity, produce also principles, ideas, and categories, in conformity with their

social relations.”

▓ the wage-worker, the other man who is compelled to sell himself of his own free-will. He

discovered that capital is not a thing, but a social relation between persons established by

the instrumentality of things.

▓ Consciousness is a phenomena of the process of mankind living body. 'I' am in a different

process of consciousness from moment to moment. Combined with memories, it builds the

delusion of an identity. If I had no memory, for example, 'I' would still do similar activities

every day, but just because 'I' answer to the basic needs of 'my' body in order to stay alive and

replicate, eventually, as a defence mechanism of the specie, crucial for its perpetuation. So

basically, the 'I', as an identity, is a delusion. Emotional attachment to the 'I' by the use of

'memories' and the process of 'consciousness' creates the existential question, but 'I' does not

exist in first place, and never will.

▓ Karl Marx brilliantly suggests that we are what society shape us to be according to our

production standards and that would lead to specific ways of socialization with specific

groups. He discerns that ways of production shape that in capitalism and basically it could be

different with different systems.

▓ I would suggest theorising that there is no system in civilization better or worse than

capitalism regarding intrapersonal happiness. It is not the improvement or exchange of a

system, based in capital like capitalism or technology like the Zeitgeist, that would fade away

human sadness, loneliness and/or bring any kind of happiness better than what we have now.

▓ It is implied in the question a certain „competition‟ among systems, a „hierarchy of

happiness‟ according to the system implemented. As if one system could be better than the

other. In my opinion it is a total misunderstood and I will explain why:

1. ▓ One thing made us evolve from monkeys to humans: civilization, no matter which

one.

2. ▓ Since we are humans, we live in a civilization. If we are not civilians living in a

civilization, then we are living in the monkey‟s life style again, and may start behaving

like them again.

3. ▓ We „humans‟ are sad and have existential problems by nature because we cannot

accept that we are a „process‟ of the existence and not a „permanent‟ state of existence

as assumed by religions and spiritualists.

4. ▓ There is no „I‟, on the contrary of what Grammar categorically delude us, „I‟ is not a

„thing‟ to be categorized as a „person‟. „I‟ is simply the process of existing. Once this

process is exhausted we no longer exist in physical terms. The spiritual existence, the

cogito, that Descartes tries to figure out, is just a desperate attempt to reassure the “I” as

a permanent state of existence. But then, if nothing can prove he was righty, and

nothing can prove he was wrong, then his theory is „faith‟, and faith is not science.

5. ▓ If we exist in civilization, so the surveillance civilization tell us who we are in the

process of existence.

6. ▓ Unhappiness takes place for we are demanded and ordered to tell who we “are”. Once

we are a „process‟, then we cannot „be‟ anything of a statement.

7. ▓ This leads to Cynicism: to „survive‟ in a civilization we have to build an Cynic

„image‟ of ourselves as if „I‟ existed. This conflict take us far away to the Transparency

of the temporal „process‟ we happen to leave impressions. We change too quickly, we

are in constant process. Once „I‟ is categorized and stated, it no longer „is‟, because it

already belong to the past.

8. ▓ This existential conflict between civilization and the figure of „us‟, where the process

phenomena expresses through our bodies (that is not „ours‟), has no solution and our

anxiety to „evolve‟ is not going to make us feel any better.

▓ According to my theory unhappiness applies to all aspects of one‟s temporal existence.

In art, once a painting/sculpture or anything is produced, it no longer belongs to the artist.

Because the artist, like everyone else, is not „someone‟, but a phenomena that happened

altogether with a civilization‟s context and the moment of creating a painting. As a whole,

all part of the past, where that specific part of the „process‟ happened as a phenomena.

Because the phenomena can happen again in a similar way, „we‟ get to be deluded with the

feeling of property and identity.

▓ Aware that we have a body to feed, an artist like everyone else, have to take care of it,

then the delusion of „I‟ before a civilization is demanded.

▓ The incongruence of making art to produce power to maintain the body and the

existential paradox, makes art nowadays look mostly awful, horrendous, revolutionary,

rubbishy or anything usually called “contemporary crap art”, for nowadays we live in a

civilization that has never ever been so Cynic as much as before. This Cynicism keep us far

from Transparency, making unhappiness a constant, no matter how many Ferraris and

Lamborghinis „we‟ can have or dream to (Plasming our happiness on that).

▓ And to have to make a living from art, is a task that becomes a torture for most artists of

our time. For art is the finest type of expression in the process of one‟s deluded existence.

But dream aspires and may get in the wrong destiny, where happiness is not included.

▓ Equations in „how to make a living from art‟ are desperate attempts to make one, in the

process of deluded existence, feel better once the delusion of „one‟s identity‟ is built

„successfully‟

▓ I mean that I probably found a definite new-era-equation to make a living from art.

Perhaps as a researcher, an artist and member of the academia I do not want the message of

„success‟ or „happiness‟ be implied in „my‟ work and „personal‟ achievements. Just

because „I‟ does not exist, and „our‟ civilization is far away from providing happiness to

the body our temporal mind exists in, even though the last is in constant chronological

mutant persona in the process.

==//==

▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓

A great clue to work with galleries, when still possible nowadays,

is to do an extensive research like the one I did. I visited about 50

galleries in London, and got solely the contact of those ones that

work with paintings related to my style and concepts. In the

following pages are the contacts of these few galleries.

▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓ ▓

Fig. 1. George Romney (1778) Elizabeth, Countess of Craven, Later Margravine of Anspach [Online].

Available at: http://www.tate.org.uk/art/artworks/romney-elizabeth-countess-of-craven-later-margravine-of-

anspach-n01669 (Accessed: 20 February 2015)

▓ Aristocratic painting

Fig. 2. Michelangelo di Lodovico Buonarroti Simoni (16th

century) The Sistine Chapel - St. Peter’s Basilica -

Italy [Online]. Available at: http://www.shedexpedition.com/wp-content/uploads/2014/03/Tourists-inside-the-

Sistine-Chapel.jpg (Accessed: 28 February 2015)

▓ Religious art

▓ It denotes that art from Renaissance til Industrial Revolution were mainly aristocratic,

religious or historical, for the influence/hegemony of those in the power: church and

government/aristocracy.

Fig. 3. Hilaire-Germain-Edgar Degas (1890-5) After the Bath, Woman drying herself [Online]. Available at:

http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-after-the-bath-woman-drying-herself

(Accessed: 22 February 2015)

▓ Modern era: with an emerging middle class due to the industrial Revolution, more diverse

scenes started being portrayed.

Fig. 4. Philip Wilson Steer (1891) Mrs Cyprian Williams and her Two Little Girls, [Online]. Available at:

http://www.tate.org.uk/art/artworks/steer-mrs-cyprian-williams-and-her-two-little-girls-n04422 (Accessed: 27

February 2015)

▓ Modern era

Fig. 5. Unknown Author (2010) Technology Then and Now, [Online]. Available at:

http://www.ilsul6ana.com/2010/04/ (Accessed: 27 February 2015)

▓ Easy access to everything may contribute to a collective mentality where everything is

made banal.

Fig. 6. Martin Creed, (2000) The lights going on and off [Online]. Available at: http://www.tate.org.uk/whats-

on/tate-britain/display/martin-creed-tate-britain (Accessed: 28 February 2015).

Fig. 7. Wilsher M. (2009) „Beyond Public Art‟, Art Monthly, 331(11), p. 12

▓ Art made too conceptual may denote a critique to a society where everything is made banal.

Fig. 8. Contemporary Equation of Making Living from Art

▓ Example of where making living from art could have shifted to.

▓ General chart of making a living from art in history, now and then