Celebrating Female Agency in the Arts - Christie's Education Symposium

Women and Art Patronage since 1950: A New Agency in the Arts?

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Fees: $235.00


This round table examines the part women have played in historical transformations of art patronage since the mid twentieth century. Remarkable female patrons, such as Peggy Guggenheim (Paris, London, New York and Venice), Ingvild Goetz (Munich), and Patrizia Re Sandretto Rebaudengo (Turin), are often forgotten in the history of art collecting and patronage. As art collectors they participated in both economic and cultural arenas and went beyond the limits traditionally assigned to collectors. They also played a variety of roles: the dealer who buys and resells artworks, the curator and the sponsor of works “in situ” or “ad hoc”. Since the 1980s there has been a recognizable trend in the western world towards patronage (especially in contemporary art, but also in ancient art and in the heritage field) being oriented towards the financing of the production of works of art and towards support for the realization of large-scale projects, often in partnership with a gallery, a museum or a foundation. Based on the presentation of individual or collective biographical and esthetical itineraries, the round table will question the “agency” of women patrons in the art world today.


Julie Verlaine 

Course dates

June 26 - 27, 2018

Christie's New York
20 Rockefeller Plaza
New York, NY 10020

Alumna of the École Normale Supérieure in Paris, historian and art historian, Julie Verlaine pursued a doctoral thesis on Art Galleries in Paris after World War II (2008) which was published in 2012 (Les galeries d’art contemporain à Paris 1944-1970, Publications de la Sorbonne). She is a tenured associate professor at Paris 1 Panthéon Sorbonne University since 2010 and a member of the Centre d’histoire sociale du XXe siècle. She is the co-founder and co-director of the “Cultural Heritage studies” Master. She is a member of the International Art Market Studies Association (TIAMSA); a member of the executive board of the French association for developing cultural history (ADHC); and the President of Mnémosyne, an association dedicated to developing women and gender studies (French section to the International Federation for Promotion of Research into Women's and Gender History). Her research stands at the crossroads of cultural history, art history and sociology. She broadened the scope of her doctoral research on the art market to transnational exchange by studying networks and circulations of artworks, and other capitals, like New York. She has studied, in monographies or prosopographical essays, other cultural figures, French and foreign: art critics, artists, collectors-donators, using gender as a useful category of historical analysis. After publishing a book on female art collectors in the Western world since 1880 (Femmes collectionneuses d’art et mécènes, Hazan, 2014), she has undertaken a social and cultural history of widowhood in the arts.

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