Léa Saint-Raymond

Ecole Normale Supérieure de Paris | ENS · Département d'Histoire et de Théorie des Arts

This paper analyses the functioning of the primary art market for living artists in the periphery of France, in a context where there was no secondary market nor intermediaries such as art dealers. It is based on a historical data set constituted manually, regarding the Toulouse Salons—the Union artistique de Toulouse (UAT) between 1861 and 1909, a...

This paper analyzes the collection of George Viau (1855-1939) from a computational perspective. Indeed, this dental surgeon, close to the Impressionists, collected several hundred works of art in the first half of the 20th century: the auctions of his collection, in 1907, 1930 and after his death, in 1942, 1943 and 1948, accounted for 642 artworks...

La valeur des œuvres d’art dépend moins de déterminants strictement économiques, que des rapports de force entre différents « prescripteurs ». Cet article identifie les processus de valorisation artistique et en étudie les principaux acteurs à la lumière du xixe siècle parisien : l’irrésistible ascension de logiques considérées comme purement spécu...

This paper aims at understanding, from the inside, the impact of the COVID-19 pandemic and the accompanying restrictive administrative measures on the art market. It is based on the interviews and ethnographic surveys made by graduate students from the Ecole du Louvre, from September 2020 to May 2021. This methodology makes it possible to demonstra...

In 1885, some artists from Toulouse gathered together and decided to pursue a "cultural policy" ahead of its time, by organizing an annual exhibition in their city: the Union artistique de Toulouse. In 1905, other painters, sculptors, furniture makers and architects went even further in this regionalist and southern affirmation: they organized a se...

Cet article propose une histoire élargie des collections et des collectionneurs à partir des annuaires artistiques publiés, en France, entre 1862 et 1937. La longueur de ces sources et leur caractère sériel les rendent très arides pour une analyse "classique" en histoire de l'art, mais l'utilisation des humanités numériques permet d'en exploiter to...

Created in 1905, the Société des Artistes Meridionaux organized annual exhibitions in Toulouse, in order to promote regional arts and (re)created a "Latin" - and modern - style. Based on a corpus of 11,486 artworks exhibited at the SAM between 1907 and 1939, this paper seeks to measure the contours and particularities of the Salons des Artistes Mer...

AI raises multiple essential issues for the humanities and the social sciences. AI is obviously a major societal issue whose consequences are currently invading the public sphere raising a variety of questions of acceptability, privacy protection or economic impact, and involving expertise that span across the entire range of social and human resea...

In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of th...

The field of art market studies is based on a famous opposition, coined by Harrison and Cynthia White in 1965, regarding the “academic” system, as opposed to the “dealer-critic” one. Published in 1965, their book, Canvases and Careers, Institutional Change in the French Painting World, was qualified by Patricia Mainardi and Pierre Vaisse, but their...

本 論 は 、 １８７３ 年 の ウ ィ ー ン 万 国 博 覧 会 以 降 、 日 本 の 盆 栽 が 社 会 − 経 済 的 、 科 学 的 、 芸 術 的 観 点 か ら ヨ ー ロ ッ パ に お い て ど の よ う に 受 容 さ れ た か を 検 討 す る 。 盆 栽 は 、 ま ず 園 芸 家 た ち を 驚 か せ た 。 彼 ら は そ れ を 奇 形 の 植 物 と 考 え た 。 ま た 、 貴 族 や 上 流 ブ ル ジ ョ ア ジ ー の 人 々 は 、 そ れ を 珍 重 し 、 手 に 入 れ た が っ た 。 そ の 後 、 大 阪 と ロ ン ド ン 、 パ リ を 結 ぶ 世 界 的 な 商 業 ネ ッ ト ワ ー ク が 出 現 し 、 パ リ...

Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution...

This paper attempts to reconstruct the Parisian art world of the 1920s through the prism of the social sciences. Geography, sociology and network analysis shed new light on a caricature drawn by Sem, entitled Les Montparnos, which was published in 1929 in L’Illustration. The reconstruction of the artistic field strips away the masks, and leads us t...

This article reconsiders the evolution of the Parisian art market using a homogeneous, stable, and diachronic source: the Bottin du commerce. The systematic study of the "art dealers" section from 1815 to 1955 provides a global perspective on the dynamics of the art trade and the transformations of the profession. After first developing under Louis...