DOI:
https://doi.org/10.14483/21450706.21414Publicado:
2024-11-01Número:
Vol. 20 Núm. 37 (2025): Enero-junio 2025Sección:
Sección CentralHistorical Revisionism and Economic Impact on Forgeries. An initial proposal.
Revisionismo histórico e impacto económico en las falsificaciones. Una propuesta inicial.
Revisionismo histórico e impacto económico nas falsificações. Uma proposta inicial.
Palabras clave:
artefactos culturales, cultura material, falsificaciones de arte, mercado del arte, revisionismo histórico (es).Palabras clave:
art forgeries, art market, cultural artifacts, historical revisionism, material culture (en).Palabras clave:
artefatos culturais, cultura material, falsificações de arte, mercado de arte, revisionismo histórico (pt).Descargas
Resumen (en)
The initial hypothesis of this theoretical article is that correlations exist between historical revisionism and economic impact on art forgeries. After stating that forgeries have the intention to deceive and their existence is due to the positive values associated with them, we clarify that historical revisionism has an impact on material culture, its display, and its exchange. We state that artworks and art forgeries are examples of material culture. Nevertheless, we describe the art market as one with information problems and a lack of incentives to publicly categorize something as a forgery. Therefore, we conclude that historical revisionism can impact the production of forgeries, but its exchange and display follow an equal dynamic to its original.
Resumen (es)
Este artículo teórico plantea como hipótesis inicial la existencia de correlaciones entre el revisionismo histórico y el impacto económico sobre las falsificaciones de arte. Luego de afirmar que las falsificaciones tienen la intención de engañar y que su propia existencia se debe a los valores positivos asociados a ellas, aclaramos que el revisionismo histórico tiene un impacto en la cultura material, su exhibición e intercambio. Sostenemos que esto parte de la asunción de que el arte y las falsificaciones de arte son un ejemplo de cultura material. Sin embargo, describimos el mercado del arte como un mercado con problemas de información, el cual carece de incentivos para categorizar públicamente una obra como falsificada. Por lo tanto, concluimos que el revisionismo histórico puede tener un impacto en la producción de falsificaciones, pero su intercambio y exhibición sigue una dinámica igual a la de la obra original.
Resumen (pt)
Este artigo teórico propõe como hipótese inicial a existência de correlações entre o revisionismo histórico e o impacto econômico sobre as falsificações de arte. Depois de afirmar que as falsificações têm a intenção de enganar e que sua própria existência se deve aos valores positivos a elas associados, esclarecemos que o revisionismo histórico tem impacto na cultura material, sua exibição e troca. Argumentamos que isso se baseia na suposição de que a arte e as falsificações de arte são um exemplo de cultura material. No entanto, descrevemos o mercado de arte como um mercado desafiado pela informação, que carece de incentivos para categorizar publicamente uma obra como falsificada.
Portanto, concluímos que o revisionismo histórico pode ter um impacto na produção de falsificações, mas sua troca e exibição seguem uma dinâmica igual à da obra original.
Referencias
Amineddoleh, L. A. (2016). Are You Faux Real: An Examination of Art Forgery and the Legal Tools Protecting Art Collectors. Cardozo Arts & Entertainment Law Journal, 34(1), 59–111.
Angelini, F., & Castellani, M. (2019). Cultural and economic value: A critical review. Journal of Cultural Economics, 43(2), 173–188. https://doi.org/10.1007/s10824-018-9334-4
Angelini, F., & Castellani, M. (2022). Price and information disclosure in the private art market: A signalling game. Research in Economics, 76(1), 14–20. https://doi.org/10.1016/j.rie.2022.01.002
Angelini, F., Castellani, M., & Pattitoni, P. (2023). Artist Names as Human Brands: Brand Determinants, Creation and co-Creation Mechanisms. Empirical Studies of the Arts, 41(1), 80–107. https://doi.org/10.1177/02762374211072964
Angelini, F., Castellani, M., & Zirulia, L. (2022). Overconfidence in the art market: A bargaining pricing model with asymmetric disinformation. Economia Politica, 39(3), 961–988. https://doi.org/10.1007/s40888-022-00273-9
Artnet News. (2014, October 13). Over 50 Percent of Art is Fake. Artnet News. https://news.artnet.com/market/ over-50-percent-of-art-is-fake-130821
Ashley, K. M., & Plesch, V. (2002). The Cultural Processes of ‘Appropriation’. Journal of Medieval and Early Modern Studies, 32(1), 1–15.
Barboza, D., Bowley, G., & Cox, A. (2013, October 28). A Culture of Bidding: Forging an Art Market in China. The New York Times. https://www.nytimes.com/projects/2013/china-artfraud/index.html
Becker, H. S. (2008). Art Worlds, 25th Anniversary Edition (1st ed.). University of California Press.
Bjørnskov, C. (2021). Civic honesty and cultures of trust. Journal of Behavioral and Experimental Economics, 92, 101693. https://doi.org/10.1016/j.socec.2021.101693
Cambridge University. (2023). Society. In Cambridge Dictionary. Cambridge University Press. https://dictionary.cambridge.org/us/dictionary/english/society
Cork, T. (2018, June 18). Historic moment as Colston portrait is removed from Lord Mayor’s office. BristolLive. https://www.bristolpost.co.uk/news/bristol-news/ historic-moment-portrait-edward-colston-1687814
Danto, A. C. (1964). The Artworld. The Journal of Philosophy, 61(19), 571–584. https://doi.org/10.2307/2022937
Day, G. (2014). Explaining the Art Market’s Thefts, Frauds, and Forgeries (And Why the Art Market Does Not Seem to Care). Vanderbilt Journal of Entertainment & Technology Law, 16(3), 457.
Dickie, G. (1974). Art and the Aesthetic: An Institutional Analysis. Cornell University Press.
Dickie, G. (1984). The Art Circle: A Theory of Art. Haven.
Ferino, S. (1979). A Master-painter and his Pupils: Pietro Perugino and his Umbrian Workshop. Oxford Art Journal, 2(3), 9–14.
Fisher, M. (2013, June 5). A revealing map of the countries that are most and least tolerant of homosexuality. The Washington Post. https://www.washingtonpost.com/ news/worldviews/wp/2013/06/05/a-revealing-map-of-the- countries-that-are-most-and-least-tolerant-of-homosexuality/
Frey, B. S., & Pommerehne, W. W. (1989). Muses and Markets: Explorations in the Economics of the Arts. Blackwell.
Friedländer, M. J. (1941a). Artistic Quality: Original and Copy. The Burlington Magazine for Connoisseurs, 78(458), 143–151.
Friedländer, M. J. (1941b). On Forgeries. The Burlington Magazine for Connoisseurs, 78(459), 192–197.
García Vega, M. Á. (2023, February 7). La buena mano de los copistas del Prado. El País. https://elpais.com/ cultura/2023-0207/labuena-mano-de-los-copistas-del- prado.html
Ginsburgh, V., Radermecker, A.-S., & Tommasi, D. (2019). The effect of experts’ opinion on prices of art works: The case of Peter Brueghel the Younger. Journal of Economic Behavior & Organization, 159, 36–50. https://doi. org/10.1016/j.jebo.2018.09.002
Global Campaign for Equal Nationality Rights. (2020). The Impact of Gender Discrimination in Nationality Laws on Gender-Based Violence. Global Campaign for Equal Nationality Rights. https://equalnationalityrights.org/reports/ document/1299-the-impactofgender-discrimination-in- nationality-laws-on-gender-based-violence
Goetzmann, W. N. (1995). The Informational Efficiency of the Art Market. Managerial Finance, 21(6), 25–34. https://doi.org/10.1108/eb018522
Goodman, N. (1978). Ways of Worldmaking. Hackett Publishing.
Grassby, R. (2005). Material Culture and Cultural History. The Journal of Interdisciplinary History, 35(4), 591–603. https://doi.org/10.1162/0022195043327426
House of Commons. (2017, June 19). An Act to amend the Canadian Human Rights Act and the Criminal Code. Parliament of Canada. https://www.parl.ca/DocumentViewer/en/42-1/bill/c-16/royal-assent
Hyman, R. (1989). The Psychology of Deception. Annual Review of Psychology, 40(1), 133–154. https://doi.org/10.1146/annurev.ps.40.020189.001025
ICC. (2021). Policy on Cultural Heritage. International Criminal Court.
Jones, M., Craddock, P. T., & Barker, N. (Eds.). (1990). Fake? The Art of Deception. University of California Press.
Keats, J. (2013). Forged: Why Fakes are the Great Art of Our Age. Oxford University Press.
Kimball, E. L. (1987). The Artist and the Forger: Han van Meegeren and Mark Hofmann. Brigham Young University Studies, 27(4), 5–14.
Klamer, A. (2003). Social, cultural and economic values of cultural goods. Cultural Economics, 3(3), 17–39. https://doi.org/10.11195/jace1998.3.3_17
Klamer, A. (2016). The value-based approach to cultural economics. Journal of Cultural Economics, 40(4), 365–373. https://doi.org/10.1007/s10824-016-9283-8
Krasner, B. (2019). Historical Revisionism. Greenhaven Publishing LLC.
Lenain, T. (2012). Art Forgery: The History of a Modern Obsession. Reaktion Books.
Levine, J. A. (2008). The Importance of Provenance Documentations in the Market for Ancient Art and Artifacts: The Future of the Market May Depend on Documenting the Past, The. DePaul Journal of Art, Technology and Intellectual Property Law, 19(2). https://heinonline.org/HOL/Page?handle=hein.journals/ dael19&id=223&div=&collection=
Lowenthal, D. (1992). Counterfeit Art: Authentic Fakes? International Journal of Cultural Property, 1(1), 79–104. https://doi.org/10.1017/S0940739192000067
Marchenko, M., Radermecker, A.-S. V., & Angelini, F. (2021). How to Deal with Fakes in the Art Market? A Theoretical Model Exploring Labeling and Price-Setting Strategies at Auction (SSRN Scholarly Paper No. 3986228). https://doi. org/10.2139/ssrn.3986228
Merryman, J. H. (1992). Counterfeit Art. International Journal of Cultural Property, 1(1), 27–78. https://doi.org/10.1017/S0940739192000055
Nastasijevic, A. (2014, May 12). Transparency in the Art Market. Widewalls. https://www.widewalls.ch/magazine/ information-asymmetry-buyers-sellers-art-market
Oosterlinck, K., & Radermecker, A.-S. (2019). “The Master of
…”: Creating names for art history and the art market. Journal of Cultural Economics, 43(1), 57–95.
https://doi.org/10.1007/s10824-0189329-1
Quinn, B. (2022, April 3). National Gallery renames Degas’ Russian Dancers as Ukrainian Dancers. The Guardian. https:// www.theguardian.com/artanddesign/2022/apr/03/national- gallery-renames-degas-russian-dancers-as-ukrainian-dancers
Radermecker, A.-S. V. (2020). Buy one painting, get two names. On the valuation of artist collaborations in the art market. Arts and the Market, 10(2), 99–121. https://doi.org/10.1108/AAM-10-2019-0030
Radermecker, A.-S. V. E. (2019). Artworks without names: An insight into the market for anonymous paintings. Journal of Cultural Economics, 43(3), 443–483. https://doi.org/10.1007/ s10824-019-09344-5
Saner, E. (2013, July 30). Gay rights around the world: The best and worst countries for equality. The Guardian. https://www.theguardian.com/world/2013/jul/30/gay-rights-world-best-worst-countries
Schneider, A. (2003). On‘appropriation’. A critical reappraisal of the concept and its application in global art practices*. Social Anthropology, 11(2), 215–229. https://doi.org/10.1111/j.1469-8676.2003.tb00169.x
Şerbănoiu, G. (2012). Aspects of Criminality, Intellectual Property, Forgery and Counterfeiting. Journal of Criminal Investigations, 5(2), 67–72.
Shiner, L. (2001). The Invention of Art: A Cultural History. University of Chicago Press.
Thomas, H. (2015). World Without End: Spain, Philip II, and the First Global Empire. Random House Publishing Group.
Tietze, H. (1939). Master and Workshop in the Venetian Renaissance. Parnassus, 11(8), 34–45.
https://doi.org/10.108 0/15436314.1939.11666590
Trope, Y. (1986). Self-enhancement and self-assessment in achievement behavior. In E. T. Higgins & R. M. Sorrentino (Eds.), Handbook of motivation and cognition: Foundations of social behavior (pp. 350–378). Guilford Press.
Van Lente, H. (2012). Navigating foresight in a sea of expectations: Lessons from the sociology of expectations. Technology Analysis & Strategic Management, 24(8), 769–782. https://doi.org/10.1080/09537325.2012.715478
Van Lente, H. (2021). Imaginaries of innovation. In B. Godin,
G. Gaglio, & D. Vinck (Eds.), Handbook on Alternative Theories of Innovation (pp. 23–36). Edward Elgar Publishing. https://doi.org/10.4337/9781789902303.00010
Velthuis, O. (2005). Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art. Princeton University Press.
Wall, T. (2020, June 14). The day Bristol dumped its hated slave trader in the docks and a nation began to search its soul. The Guardian. https:// www.theguardian.com/uk-news/2020/jun/14/the-day-bristol-dumped-its-hated-slave-trader-in-the-docks- and-a-nation-began-to-search-its-soul
Wang, C. S., & Leung, A. K. -y. (2010). The Cultural Dynamics of Rewarding Honesty and Punishing Deception. Personality and Social Psychology Bulletin, 36(11), 1529–1542. https://doi.org/10.1177/0146167210385921
Welchman, J. C. (2003). Art After Appropriation: Essays on Art in the 1990s. Routledge.
Woodward, I. (2007). Understanding Material Culture. SAGE.
Cómo citar
APA
ACM
ACS
ABNT
Chicago
Harvard
IEEE
MLA
Turabian
Vancouver
Descargar cita
Licencia
Derechos de autor 2024 Adrià Harillo Pla
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-CompartirIgual 4.0.
Licencia actual vigente
Creative Commons BY NC SA - Atribución – No comercial – Compartir igual. Vigente a partir del Vol. 17 No. 32: (julio-diciembre) de 2022.
This work is licensed under a https://creativecommons.org/licenses/by-nc-sa/4.0/deed.es
Licencias anteriores
- Desde el Vol. 14 Núm. 25 (2019) hasta el Vol. 17 Núm. 31: enero-junio de 2022 se utilizó la licencia Creative Commons BY NC ND https://creativecommons.org/licenses/by-nc-nd/4.0/deed.es
- Desde el Vol 1 Num 1 (2007) hasta el Vol. 13 Núm. 23 (2018) la licencia fue Creative Commons fue Reconocimiento- Nocomercial-Sin obras derivadas 2.5 Colombia https://creativecommons.org/licenses/by/2.5/co/