A really big diamond?

真正的大鑽石？

Your own airplane?

你自己的飛機？

Maybe a few private islands?

也許有幾個私人島嶼？

Perfectly affordable.

經濟實惠。

But if you were hoping to nab this relatively modestly-sized oil painting by Vincent van Gogh, I'm afraid you're out of luck.

但是，如果你希望買到文森特-梵高這幅尺寸相對適中的油畫，恐怕你就不走運了。

It recently sold at auction for $71 million.

最近，它在拍賣會上以 7100 萬美元的價格售出。

It's disappointing, I know.

我知道，這很令人失望。

The rich and powerful have always taken up a lot of space when it comes to art sales.

在藝術品銷售方面，有錢有勢的人總是佔據著很大的空間。

Even if the specifics have changed over time.

即使隨著時間的推移，具體內容已經發生了變化。

But the history of this changing market is actually as much about progress and artistic freedom as it is about wealth and status.

但實際上，這一市場變化的歷史既關乎財富和地位，也關乎進步和藝術自由。

Hi, I'm Sarah Urist Green, and this is Crash Course Art History.

大家好，我是莎拉-烏里斯特-格林，這裡是《藝術史速成班》。

We know that art has value beyond its price tag.

我們知道，藝術的價值超出了它的價格標籤。

In fact, we spent all of episode six exploring the non-financial side of things.

事實上，我們用了整整第六集的時間來探討事情的非財務方面。

But it's time to acknowledge the elephant in the room.

但現在是時候承認房間裡的大象了。

For better or worse, money has always played a major role in the art world, though the specific ways art has been bought and sold have evolved over time.

無論好壞，金錢在藝術界一直扮演著重要角色，儘管藝術品買賣的具體方式隨著時間的推移而不斷演變。

Like if I were 15th century Italian nobility and I wanted a portrait to spruce up my parlor, I could write a letter to an artist friend of mine, humble brag, and commission them to create one.

比如，如果我是 15 世紀的意大利貴族，我想要一幅肖像來裝飾我的客廳，我可以寫信給我的一位藝術家朋友，謙虛地吹噓一番，然後委託他們創作一幅肖像。

I'd get a cool new painting, and they'd get a bag of money.

我會得到一幅很酷的新畫，他們會得到一袋錢。

Win-win.

雙贏。

This was the system of patronage, and it was pretty much the way that art in Europe was bought and sold for a long time.

這就是贊助制度，在很長一段時間裡，它幾乎是歐洲藝術品的買賣方式。

So patrons had a ton of power over art, everything from the material to the technique to the subject matter.

是以，贊助人對藝術，從材料、技術到題材，都有很大的控制權。

It's kind of like when you go to Subway and commission a sandwich artist, except instead of a six-inch veggie delight, you'd be ordering, like, the Sistine Chapel ceiling.

這有點像你去賽百味（Subway）委託一位三明治藝術家製作三明治，只不過你點的不是六英寸長的素食，而是西斯廷教堂的天花板。

Now, flash forward about 200 years to the first half of the 17th century.

現在，時間向前推移約 200 年，來到了 17 世紀上半葉。

There had been enormous economic growth across Europe as the various nation states expanded trade routes and reaped the benefits of colonizing others, benefits that extended to artists, too.

隨著各民族國家拓展貿易路線並從殖民其他國家中獲益，整個歐洲的經濟得到了巨大發展，藝術家也從中受益。

For example, with the creation of the Dutch Republic in what's now the Netherlands, artists began creating non-commissioned work and selling it to anyone who would pay for it, paintings were sold at bookstores, fairs, and even hawked by artists on the street.

例如，隨著荷蘭共和國在現在的荷蘭成立，藝術家們開始創作非委託作品，並將其出售給任何願意付錢的人，畫作在書店、集市上出售，甚至由藝術家在街頭兜售。

And that meant artists weren't bound by the whims of their patrons.

這意味著藝術家不受贊助人一時興起的束縛。

They could create what they wanted to, when they wanted.

他們可以隨時隨地創造自己想要的東西。

As this free market grew, art guilds gained more power.

隨著自由市場的發展，藝術行會也獲得了更大的權力。

These associations of artists established new standards for what made art valuable.

這些藝術家協會為藝術的價值確立了新的標準。

They'd often help artists set the price of a work and connect with buyers to make the sale.

他們經常幫助藝術家確定作品的價格，並與買家聯繫，促成交易。

On top of that, we start to see the emergence of full-time art dealers.

此外，我們開始看到專職藝術品經銷商的出現。

These new go-betweens would shop around at guilds and workshops, buying a variety of artworks.

這些新的中間人會在行會和作坊裡四處採購，購買各種藝術品。

That way, they could provide wealthy collectors with varied options, all in one place, and they'd sell them at a higher price than they paid.

這樣，他們就能在一個地方為富有的收藏者提供各種選擇，並以高於他們支付的價格出售。

By the dawn of the 18th century, this idea of a consumer-focused art market had spread across Europe, including the cultural hubs of London and Paris.

到 18 世紀初，這種以消費者為中心的藝術市場理念已經傳遍歐洲，包括倫敦和巴黎的文化中心。

While art purchases used to be more about legacy and power, now they were more about what was trendy.

過去，購買藝術品更多是為了獲得遺產和權力，而現在則更多是為了追趕潮流。

Collectors would often sell off works when their tastes changed, so art started changing hands more and more often.

收藏家們的品味發生變化時，往往會出售作品，是以藝術品的易手開始變得越來越頻繁。

Around the same time, collectors also began buying and selling art from auction houses.

大約在同一時期，收藏家也開始在拍賣行買賣藝術品。

Places like Sotheby's and Christie's in London were profiting mightily off of art sales through the 18th and 19th centuries.

18 世紀和 19 世紀，倫敦蘇富比和佳士得等拍賣行從藝術品銷售中獲利頗豐。

Both of these auction houses are still around today and seemingly doing quite well.

如今，這兩家拍賣行依然存在，而且似乎經營得相當不錯。

Throw in the popularity of online auctions in the 21st century, and you've just completed a 600-year speed tour of the art market, which brings us to the global art market, which is so big that it's estimated to be worth over $64 billion.

再加上 21 世紀在線拍賣的流行，你剛剛完成了一次 600 年的藝術市場速覽，這就把我們帶到了全球藝術市場，它是如此之大，據估計價值超過 640 億美元。

That's a lot of money, and to figure out where those numbers come from, we rely in part on appraisers, the folks who do the work of investigating and analyzing art to come up with its value.

這是一筆不小的數目，要想知道這些數字從何而來，我們在一定程度上要依靠估價師，他們負責對藝術品進行調查和分析，從而得出藝術品的價值。

And that value can change significantly from the first time a piece is sold to the last.

從第一次出售到最後一次出售，價值可能會發生很大變化。

Let's head to the drawing board.

讓我們回到繪圖板前。

Behold, Salvatore Mundi.

看哪，薩爾瓦多-蒙迪。

It was allegedly created for King Louis XII of France around 1500, but the artist was unknown for hundreds of years.

據說這幅畫是 1500 年左右為法國國王路易十二創作的，但幾百年來一直無人知曉作者是誰。

In 1763, it disappeared from history, just boop, gone, until it reappeared in 1958 when it was auctioned off at Sotheby's for a whole $72, then poof, gone again, until it popped back up in 2005 at an American estate sale.

1763 年，它從歷史上消失了，"嘭 "的一聲，不見了，直到 1958 年在蘇富比拍賣會上以 72 美元的高價再次出現，然後 "噗 "的一聲，又消失了，直到 2005 年在一次美國遺產拍賣會上再次出現。

By this point, it was in bad shape.

此時，它的狀況已經很糟糕了。

The panel was infested with worms and it had been painted over in a botched restoration attempt, but a pair of art dealers bought it for a little over $10,000 and took it to a professional restorer.

這塊木板上長滿了蟲子，在一次失敗的修復嘗試中被塗上了油漆，但一對藝術品經銷商以 1 萬多美元的價格買下了它，並把它交給了專業的修復師。

As the layers of paint came off, they realized they had a prize on their hands.

當一層層油漆脫落時，他們意識到自己手上有一個獎品。

They were now convinced that the Salvatore Mundi was made by none other than Leonardo da Vinci.

他們現在確信，《Salvatore Mundi》的作者正是達文西。

When the news broke, the art industry went wild.

消息傳出後，藝術界一片譁然。

In 2013, Sotheby's sold the piece again, this time for around $75 million.

2013 年，蘇富比拍賣行再次出售了這件作品，這次的價格約為 7500 萬美元。

Later that year, the buyer turned around and sold it for over $127 million.

同年晚些時候，買家轉手以超過 1.27 億美元的價格將其售出。

And in 2017, the painting turned up for auction again, where it sold for over $450 million.

2017 年，這幅畫再次被拍賣，成交價超過 4.5 億美元。

The painting has mostly been in storage since, except for a stint when it hung inside the yacht of Saudi Arabian crown prince Mohammed bin Salman.

此後，這幅畫大部分時間都被收藏起來，只有一段時間曾被掛在沙特阿拉伯王儲穆罕默德-本-薩勒曼的遊艇內。

To this day, not everyone is convinced the Salvatore Mundi is entirely da Vinci's work.

時至今日，並非所有人都相信《薩爾瓦多-蒙迪》完全是達-芬奇的作品。

Still, the suggestion that it might be and the heated debate around it was compelling enough to keep driving up the price, which goes to show how important a painting's perceived origin story is to determining its price.

儘管如此，"它可能是 "的說法和圍繞它的激烈爭論足以讓價格不斷攀升，這足以說明一幅畫的起源故事對於決定其價格有多麼重要。

Art specialists, dealers, and auction houses keep detailed records to try to determine an artwork's provenance, or the journey it's taken from initial creation through each subsequent sale.

藝術專家、交易商和拍賣行都會保存詳細的記錄，試圖確定藝術品的出處，或者說藝術品從最初創作到後來每次出售的過程。

But this gets especially complicated in the case of stolen artworks.

但在藝術品被盜的情況下，情況就變得尤為複雜。

When the art market swelled to new heights in Europe in the 17th century and beyond, European colonialism was well underway.

17 世紀及以後，當藝術品市場在歐洲達到一個新的高度時，歐洲的殖民主義也在蓬勃發展。

And in addition to taking control of other nations, they stole a whole bunch of art as well.

除了控制其他國家，他們還偷走了一大堆藝術品。

Take this figure, for example.

以這個數字為例。

According to its provenance, it belonged to Jewish collector Friedrich Wolf Neis, who had to abandon it at his home in Vienna when he fled the Nazis in 1938.

根據它的出處，它屬於猶太收藏家弗里德里希-沃爾夫-內斯（Friedrich Wolf Neis），他在 1938 年逃離納粹時不得不將它遺棄在維也納的家中。

After the war, he reunited with his collection and he brought the figure to his new home in the U.S.

戰後，他與自己的收藏重聚，並把這個人物帶到了他在美國的新家。

Then, in 1950, it went to auction, where it was sold into another private collection, where it remained until 2019, when it showed up for auction yet again.

之後，在 1950 年，它被拍賣，並被賣給了另一個私人收藏館，直到 2019 年，它再次出現在拍賣會上。

But there's another story, one that doesn't show up in the provenance.

但還有另一個故事，一個沒有在出處中出現的故事。

This figure was carved by the indigenous Maori people of New Zealand.

這個雕像是紐西蘭原住民毛利人雕刻的。

We don't know the exact story of how Wolf Neis acquired it, but it was likely part of a large number of indigenous objects that were taken from their home country, transported to Europe during the 19th century, and sold to collectors.

我們不知道沃爾夫-內斯是如何獲得它的，但它很可能是 19 世紀從原住民國家運到歐洲並賣給收藏家的大量原住民物品的一部分。

Wolf Neis's Maori statue went through what's been described as art by metamorphosis.

沃爾夫-奈斯的毛利雕像經歷了被稱為藝術的蛻變。

In other words, it was never meant to be sold as art, but after it was taken out of context and resold, it eventually became art, at least in the way Europeans understood it, with a price tag, which poses difficult questions, like how do we reckon with an art market flooded with works that were likely stolen from their original owners, especially when these works have changed hands so many times that it's difficult to identify where we might return them and to whom.

換句話說，它本來就不是作為藝術品出售的，但在被斷章取義、轉手倒賣之後，它最終成了藝術品，至少按照歐洲人的理解，是有價格標籤的，這就提出了一些棘手的問題，比如我們該如何面對充斥著很可能是從原主人那裡偷來的作品的藝術品市場，尤其是當這些作品被轉手了很多次，以至於我們很難確定可以把它們歸還到哪裡、歸還給誰的時候。

Meanwhile, the stolen works' financial value may continue to grow or shrink based on the changing tastes and priorities of collectors.

與此同時，被盜作品的經濟價值可能會根據收藏者不斷變化的品味和優先事項而持續增長或縮水。

And here's another tough question.

這又是一個棘手的問題。

Who does the art market benefit?

藝術市場對誰有利？

Many valuable pieces cycle from collector to dealer to auction and back again, accumulating more value along the way in what some critics call the gallery-industrial complex.

許多有價值的作品從收藏家到經銷商再到拍賣會，循環往復，在一些評論家稱之為畫廊工業綜合體的過程中積累了更多的價值。

A small handful of players profit handsomely, while the majority of participants in the world of art make very little.

一小撮人賺得盆滿缽滿，而藝術世界的大多數參與者卻賺得很少。

This includes most artists, who typically only see profit from the initial sale, what's called the primary market, and not from any of the sales that follow, which we call the secondary market.

這包括大多數藝術家，他們通常只能從首次銷售（即所謂的一級市場）中獲利，而不能從任何後續銷售（即我們所說的二級市場）中獲利。

This practice stretches all the way back to those early Dutch art dealers in the 17th century who bought works and sold them for a premium.

這種做法可以追溯到 17 世紀早期的荷蘭藝術品商人，他們買下作品後高價出售。

Contemporary artists have found numerous ways to critique the gallery-industrial complex, like check out this series called Fakes by the Cubid artist C.B.

當代藝術家們找到了許多批判畫廊工業綜合體的方法，比如 Cubid 藝術家 C.B. 的這組名為 "假貨 "的作品。

Oyo.

奧約

By loosely copying works that have sold for millions and scrawling pointed messages across them, Oyo pokes fun both at status-seeking collectors and the system that provides luxury goods according to their whims.

Oyo 不拘泥於複製那些已售出數百萬美元的作品，並在作品上塗寫尖銳的資訊，這既是對追求地位的收藏家的嘲諷，也是對根據他們的奇思妙想提供奢侈品的制度的嘲諷。

And Oyo isn't alone in his critiques.

Oyo 並不是唯一提出批評的人。

Take the anonymous English artist Banksy.

以英國匿名藝術家班克斯為例。

In 2018, his work Girl with Balloon famously self-destructed immediately after selling at auction for $1.4 million.

2018 年，他的作品《帶氣球的女孩》在拍賣會上以 140 萬美元的價格售出後立即自毀，名噪一時。

It was an intentional move meant to criticize the excessive spending of the art market.

此舉意在責備藝術市場的過度消費。

But many predicted the stunt would only make the painting more valuable, and they were right.

但許多人預測，這種噱頭只會讓這幅畫更有價值，他們是對的。

The piece, renamed Love is in the Bin, sold for $25.4 million when it went to auction again in 2021, despite or perhaps because its bottom half is in pieces.

這件作品被重新命名為 "愛在垃圾桶"（Love is in the Bin），在 2021 年再次拍賣時以 2,540 萬美元的價格售出，儘管它的下半部分已經支離破碎。

Some critics have argued that this undercut Banksy's act of rebellion, but others say it only reinforced his original message.

一些評論家認為，這削弱了班克斯的反叛行為，但也有人認為，這只是強化了他的原始資訊。

The art market can be a wild and recklessly lavish place.

藝術市場可以是一個狂野、肆意揮霍的地方。

We've seen that the art market has never been static, and it's sure to keep changing in the centuries to come.

我們看到，藝術市場從來都不是一成不變的，在未來的幾個世紀裡，它肯定會不斷變化。

Is it likely to continue benefiting the richest of the rich?

最富有的人可能繼續受益嗎？

History says yes, but a girl can always dream.

歷史證明了這一點，但女孩總能夢想成真。

In the meantime, there's plenty of art out there that sells for less than that hypothetical budget of $35 million.

與此同時，還有很多藝術品的售價低於 3500 萬美元的假設預算。

In our next episode, we'll dive into the ways that art and activism have often gone hand in hand.

在下一集中，我們將深入探討藝術與激進主義的結合方式。

I'll see you there.

到時候見

Thanks for watching this episode of Crash Course Art History, which was filmed at the Indianapolis Museum of Art at Newfields, and was made with the help of all of these priceless people.

感謝您收看本集《藝術史速成班》，本集在印第安納波利斯新菲爾德藝術博物館（Indianapolis Museum of Art at Newfields）拍攝，並在這些無價之寶的幫助下製作完成。

If you want to help keep Crash Course free for everyone, forever, you can join our community on Patreon.

如果您想幫助《速成課程》永遠免費，可以加入我們的 Patreon 社區。