How an art gallery works
It has also made it possible for us to testify that of these one hundred and forty scenographies, figurines and studies that we have documented, only forty-four of them are totally unpublished and the rest, a total of ninety-six, have been published in Pedro Almeida’s work, but not all of them have been analyzed or contextualized. All this makes this collection one of the best, richest and most complete of this type of art by a figure from the first third of the 20th century in Europe.
The purpose of this article is, therefore, to present the set of studies of theatrical figurines of the aforementioned gallery, unknown until now, offering a more complete vision of this artist and complementing the bibliography and pre-existing research.
His dedication to the scenic world comes from his own family environment, although his training in this field is a mystery. It seems to be deduced from his biography that it was a product of his self-taught character, his relationships and gatherings with personalities from the world of theater, literature and his visual experiences as a spectator.
Organizational structure of an art gallery
If you tell them that you live from your work and that you have to charge for it, they will surely not take you seriously, because they understand that you do it because you like it and, if so, you can do it without charging or at a low price.
In terms of work, the artist is often undervalued and socially the practice of art is not understood as a normalized profession, as could be practicing law or running a garage.
Surely when you decided to become an artist, including family and friends, they did not take you very seriously or advised you to choose any other profession that society considers more “formal” and stable.
A friend’s anecdote: “Dedicate yourself to sculpture? Okay, but it will be for weekends and vacations. You’re not thinking of leaving the office? It’s all very well as entertainment, but what are you going to live on?”.
There is the conviction that artists live on air and for the love of art, that they are generous, detached, always ready to give away their work, to collaborate altruistically with all kinds of social or cultural initiatives, out of an innate condition of philanthropy.
Types of art galleries
Within the hierarchy of genres, portraiture has an ambiguous and intermediate position; on the one hand, it depicts a person made in the likeness of God, but on the other hand, it is ultimately about glorifying a person’s vanity. The portrait is a kind of portrait of a person’s vanity.
Among other variations, the subject may be clothed or nude; indoors or outdoors; standing, seated, reclining; even mounted on horseback (equestrian portraiture). Portrait paintings can be of individuals, couples, parents and children, families, or groups of colleagues (“group portraiture”). They can be created in a variety of media including oil, watercolor, pen and ink, pencil, charcoal, pastel and mixed media. Artists can employ a wide palette of colors, such as Renoir’s On the Terrace (1881) or limit themselves to near black and white, as in Gilbert Stuart’s portrait of George Washington in 1796.
Dealing with the expectations and mood of the model is a serious concern for the portraitist. In terms of the portrait’s fidelity to the model’s appearance, artists usually have a consistent approach. Clients seeking Joshua Reynolds knew exactly that the result would be flattering, while Thomas Eakins’ models would expect a realistic portrait. Some portrait sitters have strong preferences, others let the artist decide entirely. Oliver Cromwell famously demanded that his portrait show “all these roughnesses, pimples and warts and all that you see in me, else I will never pay a penny for it.” He famously demanded that his portrait show “all these roughnesses, pimples and warts and all that you see in me, else I will never pay a penny for it.”[14
The purpose of this guide is to provide the visual artist with the guidelines or general principles that he/she should know in order to be able to establish, with a minimum of legal security, professional relationships with the different cultural agents interested in his/her work.
The knowledge of their rights and obligations in these professional relationships will allow the visual artist to face the negotiation with their representative, gallery owners, museums, art dealers…, with a greater awareness of the commitments they assume, as well as to be able to demand that the obligations assumed by the other party are effectively and accurately reflected in the contractual documents that are signed, and thus be able to
The artist must become aware of the importance of mastering the “merchant’s tools”. He must make them his own and use them in defense of his interests. The artist cannot turn his back on a mercantile reality, with its own rules and protection mechanisms, so either he knows them or he will be at the mercy of third parties who acquire, exhibit, transfer or reproduce his work.