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Full Product Details

Author:   David W. Galenson
Publisher:   Princeton University Press
Imprint:   Princeton University Press
Dimensions:   Width: 15.20cm , Height: 1.60cm , Length: 23.50cm
Weight:   0.340kg
ISBN:  

9780691133805

ISBN 10:   0691133808
Pages:   252
Publication Date:   02 December 2007
Audience:   Professional and scholarly ,  College/higher education ,  Professional and scholarly ,  Professional & Vocational ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.
Language:   English

Table of Contents

List of Illustrations and Tables ix Preface xi INTRODUCTION 1 CHAPTER 1: Theory 4 Experimental and Conceptual Innovators 4 Archetypes 5 Planning, Working, and Stopping 11 Innovation and Age: Old Masters and Young Geniuses 14 Artists, Scholars, and Art Scholars 15 CHAPTER 2: Measurement 21 Quantifying Artistic Success 21 Prices 21 Textbook Illustrations 25 Examples: Ten Important Modern Painters 27 Retrospective Exhibitions 33 Examples: Ten Important American Painters 35 Museum Collections 40 Museum Exhibition 42 Measuring Careers 44 CHAPTER 3: Extensions 47 The Spectrum of Approaches 47 Can Artists Change? 56 Anomalies 61 CHAPTER 4: Implications 67 Masters and Masterpieces 67 The Impressionists'Challenge to the Salon 71 Masterpieces without Masters 73 Contrasting Careers 80 Conflicts 82 The Globalization of Modern Art 86 CHAPTER 5: Before Modern Art 94 CHAPTER 6: Beyond Painting 111 Sculptors 111 Poets 122 Novelists 134 Movie Directors 149 CHAPTER 7: Perspectives 162 Portraits of the Artist as an Experimental or Conceptual Innovator 162 Portraits of the Artist as a Young or Old Innovator 166 Psychologists on the Life Cycles of Creativity 171 Understanding and Increasing Creativity 177 Seekers and Finders 185 Notes 187 Bibliography 207 Index 223

Reviews

Galenson's idea that creativity can be divided into these types--conceptual and experimental--has a number of important implications. -- Malcolm Gladwell, New Yorker David Galenson has developed something approaching a unified theory of art ... [that] does a surprisingly good job of explaining the relative value of the world's great paintings... While Mr. Galenson has been studying the art world over the last five years, all sorts of other fields have been engaged in their own debate about judgment versus rules... When the traditionalists in these fields describe their skepticism of statistics, they sometimes make the argument that their craft is as much art as it is science. That's a nice line, but the next time you hear it, think back to Mr. Galenson's work. Even art, it turns out, has a good bit of science to it. -- David Leonhardt, The New York Times After a decade of number crunching, Galenson, at the not-so-tender age of 55, has fashioned something audacious and controversial: a unified field theory of creativity. Not bad for a middle-aged guy. What have you done lately? -- Daniel Pink, Wired An intriguing book. -- The Age

Galenson's idea that creativity can be divided into these types--conceptual and experimental--has a number of important implications. -- Malcolm Gladwell, New Yorker David Galenson has developed something approaching a unified theory of art ... [that] does a surprisingly good job of explaining the relative value of the world's great paintings... While Mr. Galenson has been studying the art world over the last five years, all sorts of other fields have been engaged in their own debate about judgment versus rules... When the traditionalists in these fields describe their skepticism of statistics, they sometimes make the argument that their craft is as much art as it is science. That's a nice line, but the next time you hear it, think back to Mr. Galenson's work. Even art, it turns out, has a good bit of science to it. -- David Leonhardt, The New York Times After a decade of number crunching, Galenson, at the not-so-tender age of 55, has fashioned something audacious and controversial: a unified field theory of creativity. Not bad for a middle-aged guy. What have you done lately? -- Daniel Pink, Wired An intriguing book. -- The Age

Galenson's idea that creativity can be divided into these types--conceptual and experimental--has a number of important implications. -- Malcolm Gladwell New Yorker David Galenson has developed something approaching a unified theory of art ... [that] does a surprisingly good job of explaining the relative value of the world's great paintings... While Mr. Galenson has been studying the art world over the last five years, all sorts of other fields have been engaged in their own debate about judgment versus rules... When the traditionalists in these fields describe their skepticism of statistics, they sometimes make the argument that their craft is as much art as it is science. That's a nice line, but the next time you hear it, think back to Mr. Galenson's work. Even art, it turns out, has a good bit of science to it. -- David Leonhardt The New York Times After a decade of number crunching, Galenson, at the not-so-tender age of 55, has fashioned something audacious and controversial: a unified field theory of creativity. Not bad for a middle-aged guy. What have you done lately? -- Daniel Pink Wired An intriguing book. The Age

An intriguing book. --The Age (Sunday Edition) After a decade of number crunching, Galenson, at the not-so-tender age of 55, has fashioned something audacious and controversial: a unified field theory of creativity. Not bad for a middle-aged guy. What have you done lately? --Daniel Pink, Wired David Galenson has developed something approaching a unified theory of art . . . [that] does a surprisingly good job of explaining the relative value of the world's great paintings. . . . While Mr. Galenson has been studying the art world over the last five years, all sorts of other fields have been engaged in their own debate about judgment versus rules. . . . When the traditionalists in these fields describe their skepticism of statistics, they sometimes make the argument that their craft is as much art as it is science. That's a nice line, but the next time you hear it, think back to Mr. Galenson's work. Even art, it turns out, has a good bit of science to it. --David Leonhardt, The New York Times Galenson's idea that creativity can be divided into these types--conceptual and experimental--has a number of important implications. --Malcolm Gladwell, New Yorker

Galenson's idea that creativity can be divided into these types--conceptual and experimental--has a number of important implications. -- Malcolm Gladwell New Yorker David Galenson has developed something approaching a unified theory of art ... [that] does a surprisingly good job of explaining the relative value of the world's great paintings... While Mr. Galenson has been studying the art world over the last five years, all sorts of other fields have been engaged in their own debate about judgment versus rules... When the traditionalists in these fields describe their skepticism of statistics, they sometimes make the argument that their craft is as much art as it is science. That's a nice line, but the next time you hear it, think back to Mr. Galenson's work. Even art, it turns out, has a good bit of science to it. -- David Leonhardt The New York Times After a decade of number crunching, Galenson, at the not-so-tender age of 55, has fashioned something audacious and controversial: a unified field theory of creativity. Not bad for a middle-aged guy. What have you done lately? -- Daniel Pink Wired An intriguing book. The Age

Author Information

David W. Galenson is a professor in the Department of Economics and the College at the University of Chicago, and a research associate of the National Bureau of Economic Research. He is the author of several books, including Painting Outside the Lines: Patterns of Creativity in Modern Art.

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