Art and Patronage Booklets: The Spanish Art Market in 2017
Our programme is directed at patronage in general and to private and institutional collecting as a source of patronage in particular, since it fulfils a social function whose aim is the generation, conservation and diffusion of the historical artistic heritage.
As a result of our aim of promoting research from an economic-cultural viewpoint in order to generate a reference body of knowledge, we have created the editorial line Art and Patronage Booklets. National and international specialists analyse and investigate aspects relating to the art system that influence collecting.
The agency sector, fundamental in promoting the work of our artists at a domestic and international level and creating a bridge between the artists and collectors, requires special care and actions that will increase its growth.
We now present the third report, which once again contributes to deepening our knowledge of the art market in Spain. It paints an increasingly clear picture of a market that is still weak and where much effort is required in order to be able to offer the necessary professional support to our artists, to be competitive in a global art system and to consolidate our artistic heritage.
The Spanish Art Market in 2017
Once again, this document contributes to deepening our knowledge of the art market in Spain. It paints an increasingly clear picture of a market that is still weak and where much effort is required in order to be able to offer the necessary professional support to our artists, to be competitive in a global art system and to consolidate our artistic heritage.
Following the first publication in 2012, Dr Clare McAndrew has been responsible for collecting and analysing data on galleries, auction houses, fairs, artists, collectors, regulation and taxation in Spain in order to present a report that, up to the present time, is the only reference in this area.
An economist specialising in the art sector, she founded Arts Economics in 2005, a company specialising in research and consultancy focused exclusively on the economics of art, and which produces tailor-made reports on all aspects relating to Fine Arts and Decorative Arts for both private and institutional clients.
Dr McAndrew works with a network of private consultants and academic experts to supply information on the art trade and the financial sector. She has published an annual report on the global art market for the last ten years which is currently sponsored by Art Basel and UBS.
This edition of the Art and Patronage Booklet builds on the four reports that have been published to date and which have already analysed the state of the art market in Spain, as well as that of collecting and patronage.
The 2012 and 2014 editions, also by Dr Clare McAndrew, analysed the art market and the conditions that have caused it to be smaller in comparison with other countries.
While the previous editions featured, respectively, an in-depth study of the history of art collecting in Spain, both privately and by the state, and of the needs of patronage.
Patronage doesn’t appear from nowhere and requires fertile ground in which to grow. People need to be encouraged to contribute their efforts, time and resources. But support for patronage must also be recognised by institutions and society in general.
Despite a slight improvement, art and the figures for Spain are in a situation similar to that which has prevailed since the beginning of the crisis. It continues to be a small market and one with the brakes firmly on. In the last ten years (2003-2013), the art market grew by 68%, a figure that is far below the global increase (+155%).
The collecting of art has a close relationship with history and with the political, cultural and economic status of the country in which it is produced. It is a complex phenomenon and, as such, can be interpreted in many ways. But whatever the chosen point of view, any approach to the history of collecting in our country would have to address its "collective personality" and even to "point out successes and failures of cultural action".
Spain has a relatively high number of wealthy people, although the “culture of collecting art” seems to be somewhat lagging behind other more developed markets. Attempts have been made to explain this situation by, among other reasons, the historical and political context prior to 1975, by the absence of art in education and by the inadequate public measures of support and encouragement.