Fine Art
Three Common Myths About Investing In Fine Art
Collecting fine art is quickly becoming a more common method of investing and saving money. Putting your money into artwork can result in more of a return than a regular savings account, which is contrary to what most people believe. Many people don't think of fine art collecting when it comes to managing their money -- but nothing could be further from the truth. Here are some common myths about fine art investments and financing.
Some of the biggest myths concerning fine art collecting and finances are that it doesn't appreciate quickly enough to be a good investment. Also, a widely-held assumption and falsity is that art doesn't do well in a down-turning economy and that prints aren't valuable. This article dispels each of those myths and proves that art can be a suitable way to improve your investment portfolio.
MYTH: Art Doesn't Appreciate As Fast As Traditional Investments
TRUTH: This couldn't be further from the truth. A piece by Andy Warhol worth $1,000 in 2005 is worth about $3,250 today. Simply put, the art market is consistently showing impressive returns, often beating out traditional investments. Two business professors from New York University agree. Michael Moses and Jiangping Mei have complied and tracked the performance of fine art. The Mei Moses Index covers Impressionist, Modern, American (before 1950), and Old Master artists. "From last year, through the end of 2007, all our index was up 20% while the S&P total return was up 5%," says Michael Moses (co-founder, Beautiful Asset Advisors).
MYTH: Art Investments Don't Do Well In A Down-Turning Economy
TRUTH: Fine art collecting is known to be a recession-proof method of investing. Because art values aren't dependant on any country's stock market or currency, they can continue to appreciate over time, regardless of the current state of the economy. For example, foreclosures have crippled the real estate market, but fine art investments continue to do well. Well-known artists like Marc Chagall, Pablo Picasso, and Andy Warhol are some of the many whose works continue to appreciate in value. The reason for this is simple: these artists are no longer living, limiting the number of original pieces available for sale.
MYTH: Prints Aren't Valuable
TRUTH: An original, authentic, limited fine Art Print created during the artist's lifetime carries with it the value of being printed by the artist's hand. That is impossible to reproduce, and that is why it will always be valuable. When most people think of prints, they think of mass-produced posters that can be found anywhere. In the art world, a print has a completely different definition. An art print is usually produced in limited editions that are often hand-signed by the artist. Usually you can find a number such as 15/150 which means that your copy was the 15th numbered out of a total edition of 150 (frequently there are also a few artist proofs). Collectible works were printed under the artist's direction and with the artist's approval. The plates used to make the prints were almost always destroyed shortly after the printing run. This means they are in limited supply and it impossible to recreate an original.
When it comes to fine art collecting, there are many myths regarding art and investing. Art has proven to be a unique investment opportunity that is sure to appreciate while you enjoy its beauty every day.
About the Author
Christine O'Kelly is an author for Masterworks Fine Art, Inc., an online Art Gallery featuring works from artists like Joan Miro, Pablo Picasso, Marc Chagall, Andy Warhol and many others. Masterworks caters to both art enthusiasts and those looking to use art as an investment.
Fine Art
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Vietnamese Fine Art – the Taste of Modern Asian Art at Its Best!
Vietnamese fine art in modern times presents a scene that is replete with many fine artists and countless admirers and enthusiasts. Vietnamese fine art has been shying away from the eyes of the world for many years. It is only recently that it has been emancipated from its erstwhile provincial existence. Vietnamese fine art is finally coming out of the closet to present itself in its full glory before a wider audience.
The growth of interest and the rise in popular enthusiasm about Vietnamese fine art have been truly phenomenal in the past few years. The last decade, especially, has witnessed a dramatic growth in the number of people world-wide taking an enormous deal of interest in Vietnamese fine art. It is safe to assume now that Vietnamese fine art has finally come of age and is ready to go truly international.
The Contemporary Art scene of Vietnam is buzzing with activity, and is vibrant like never before. This is to be attributed not only to strong commercial considerations, but also to the commitment of artists and dealers to create and promote quality work. One cannot help but wonder in awe when one looks upon the radical metamorphosis of Vietnamese art over the last few years. Less than a decade ago, contemporary Vietnamese fine art and artists had negligible presence in their own country and virtually none on the international art scene. Yet, in 1993, eminent art critic and accomplished painter Ca Le Thang wrote in the popular art journal My Thuat, "In 1992 a total of 130 groups and one man exhibitions were opened in Ho Chi Minh City, featuring works by local (Vietnamese) artists... and even (artists) from overseas. Over 5,500 works created by more than 200 artists were exhibited in 25 different locations; attendance numbers rose to over 400,000."
Vietnamese fine art, since then, has only grown from strength to strength with every passing year. A closer look at this phenomenon reveals that it is not just the profile and status of the nation's art and artists that have grown in strength. The change is also evident in the quality of the art and in the scope of its representation through local, regional and international galleries and museums.
Compared to other Asian countries, and according to several art commentators, Vietnam was the earliest to merge into the mainstream of Modern Art, as defined by the West, in both form and content. Such a fact can be easily seen with the coming into existence of Ecole Des Beaux Arts (Indochina's School of Fine Art) in the early 1930s, with the presence of professors from France.
Western style in technique and the use of color was what the first student generation trained in this school obtained. The techniques however were employed by the graduate artists to depict the aesthetic essence of Viet-narn, especially the freedom and generosity of an Asian soul. Such a fundamental beginning had laid the foundation for the younger generations to follow and again led to their success.
Local galleries and museums have a major role to play in the growing popularity of Vietnamese fine art. They are the main driving factor behind the increasing popular enthusiasm and the commercial success of fine art in Vietnam. Such galleries are virtually countless in cities such as Hanoi, Ho Chi Minh City, and Hue. Some are nothing more than mere shops selling paintings.
In the major cities, about 50 of these galleries can be deemed professional. They deal in a wide variety of local art, ranging from highly popular landscape and figurative work to abstract and experimental work in lacquer and other mediums. The range of variety to be noticed in Vietnamese fine art by gazing upon these paintings is truly amazing.
About the Author
Wain Roy is an internet marketing professional expert in various industries like real estate, web design, finance, medical tourism, pharmacy drug and Vietnamese paintings.
Cincinnati Fine Arts Fund Sampler Pie & Seltzer Combo 2010
