Title of the article:



Irina V. Chernyaeva

Lidiya V. Balakhnina

Information about the author/authors

Irina V. Chernyaeva — PhD in Art, Altai State University, Lenin Ave, 61, 656049 Barnaul, Russia.
ORCID ID: http://orcid.org/0000-0003-0308-0969
E-mail: gurkina-22@mail.ru

Lidiya V. Balakhnina — PhD in Art, Tyumen State University, Volodarsky St., 6, 625003 Tyumen, Russia.
ORCID ID: http://orcid.org/0000-0002-3067-866X
E-mail: 89091812006@mail.ru


History of Arts




Vol. 65


pp. 333–344


November 08, 2021

Approved after reviewing

December 13, 2021

Date of publication

September 28, 2022



Index UDK


Index BBK



The relevance of the study is due to the need to revive the traditions of collective activity in modern Russia. The socio-economic situation of the 21st century has generated special conditions for the development of artistic practices: mass digitalization, the tendency to invest in art, the importance of preserving copyright (blockchain in art), the idea of creating a brand with the artist`s name etc. — all these implies the global crisis of traditional art market. The process of adapting artists to new conditions is ambiguous since the historical context of the development of the art market dictated various options for commodity exchange and gathering, each era had its own specific features of the presentation of the commercial nature of works of fine art. The works of art were originally intended exclusively for personal consumption. The transfer of fine arts to other hands used to be free of charge: as a sign of respect, honor or as a ritual action. Gradually, these narrow frameworks were breached, and works of fine art increasingly fulfilled a public function, serving a religious cult, power. Among the entrepreneurs were real connoisseurs of art making excellent collections that became part of the domestic cultural heritage and national heritage. The authors conclude that in each historical era the art market had its own features, and the work of fine art became a commodity in a classical sense with the advent of an intermediary on the market; the main specific feature of the domestic art market is its formation on the basis of collecting closely related to philanthropy and charity.


Art Market, Charity, Philanthropist, Collector, Gallerist, Art.


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