Book contents
- Frontmatter
- Contents
- Preface
- 1 Sacred Art: Who Has the Power to Define Art?
- 2 The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect?
- 3 Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality?
- 4 The Selflessly Devoted Artist: Are Artists Reward-Oriented?
- 5 Money for the Artist: Are Artists Just Ill-Informed Gamblers?
- 6 Structural Poverty: Do Subsidies and Donations Increase Poverty?
- 7 The Cost Disease: Do Rising Costs in the Arts Make Subsidization Necessary?
- 8 The Power and the Duty to Give: Why Give to the Arts?
- 9 The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?
- 10 Art Serves the Government: How Symbiotic Is the Relationship between Art and the State?
- 11 Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts?
- 12 Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts so Persistent?
- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?
- Notes
- Literature
- Index of Names
- Index of Subjects
10 - Art Serves the Government: How Symbiotic Is the Relationship between Art and the State?
Published online by Cambridge University Press: 23 January 2021
- Frontmatter
- Contents
- Preface
- 1 Sacred Art: Who Has the Power to Define Art?
- 2 The Denial of the Economy: Why Are Gifts to the Arts Praised, While Market Incomes Remain Suspect?
- 3 Economic Value Versus Aesthetic Value: Is There Any Financial Reward for Quality?
- 4 The Selflessly Devoted Artist: Are Artists Reward-Oriented?
- 5 Money for the Artist: Are Artists Just Ill-Informed Gamblers?
- 6 Structural Poverty: Do Subsidies and Donations Increase Poverty?
- 7 The Cost Disease: Do Rising Costs in the Arts Make Subsidization Necessary?
- 8 The Power and the Duty to Give: Why Give to the Arts?
- 9 The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?
- 10 Art Serves the Government: How Symbiotic Is the Relationship between Art and the State?
- 11 Informal Barriers Structure the Arts: How Free or Monopolized Are the Arts?
- 12 Conclusion: a Cruel Economy: Why Is the Exceptional Economy of the Arts so Persistent?
- Epilogue: the Future Economy of the Arts: Is this Book’s Representation of the Economy of the Arts Outdated?
- Notes
- Literature
- Index of Names
- Index of Subjects
Summary
How the Veiled Purchase of a Mondrian Painting became the Center of Public Debate
In 1998 the Dutch National Bank bought a Mondrian painting for 36 million Euros and gave it to the Dutch people. Journalists found out that the purchase had been handled behind closed doors using intermediaries and that a special arrangement had been used because the deal had not been entirely legal. The ‘gift’ from the bank to the Dutch people came from public money; therefore, parliament should have been asked for permission to spend this money on the purchase of the painting. The elected representatives of the Dutch people must be able to decide what the Dutch are going to give themselves. The Prime Minister, who had known about the deal all along, admitted that he thought that parliament would have never consented to the deal. Therefore, a ‘minor’ disingenuous procedure and some concealment had been required. The intention of the government and the bank director had only been to do something ‘nice’ for the country.
While the gift was meant to be public, the deal had to remain veiled. When it finally became public, a row ensued and the public reacted particularly negatively. The people were not happy with the gift because they did not like Mondrian's painting.
Alex remembers that he and his friends had mixed feelings about the affair. They liked the painting very much, although they thought that it had cost far too much money. But that wasn't their main issue.
Alex's colleague Rosa had the most extreme opinion. ‘I like this Mondrian, but I could never accept it as a gift. The president of the bank is a thief; he gives away what is not his to give. He is more than just a petty criminal. This so-called gift comes from a theft worth – think of it – eighty million guilders. For that money a thousand visual artists could paint murals on public buildings for the rest of their lives.’ This is what Rosa does when she has paid work. Then Peter asked her: “How certain are you that those murals are what the people want?” And Rosa responded, “Of course they’d rather spend their money on bus trips to the Costa Brava, but at least their local board representatives like my murals.”
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- Chapter
- Information
- Why Are Artists Poor?The Exceptional Economy of the Arts, pp. 232 - 258Publisher: Amsterdam University PressPrint publication year: 2008