To buy an Artwork today
In pure theory, there should be a close relationship between an artist's historical value and his market price. The higher the expense, the more significant the role played by the author in the history of art. In fact, the factors that determine the prices of works are many and extremely complex.
We can answer that an artist's market declines when cultural value finds a confirmation within the art system. In summary, valuations should be considered as the sum of a set of elements that the collector must always keep in mind when he or she purchases an opera.
Why buying an artwork
The crisis in Italy does not stop the sale of Artworks, since 2009 sales have continued to grow.
T
hese elements can be summed up in nine steps: the quality of the work (technique used by the artist).
The market is more appreciated by oil on canvas or acrylics. These are works that are not likely to deteriorate, relatively easy to
transport and install. Immediately after, the tempera, the watercolor, the crayons, and finally the drawings. It can be asserted that,
for the same size, a temper is measured by half an oil, the watercolor about a quarter, the designs less than a tenth.
The artist's performance is, in some respects, similar to that of equities, and certain rules that are
often used, can certainly be used in the art market. Surely it is necessary to pay attention to speculation, powered by operators
(merchants and auction houses), or sell when others buy and buy when the market is going through a recession.
On May 4, 1994, for example, there was something quite brilliant: Sotheby's sale in New York, a masterpiece of pop art master Jasper
Johns, proposed with an estimated 10 billion lire, remained unsold. The thing that worried the operators was not so much the flop of
such an important work, but the fact that a similar work by the same author had been allocated in 1988 for 20 billion lire.
- Mauro Molle
- Elisa Latini
- Davide Querin
- Margherita Lipinska
