My Personal Experience With A Cy Twombly Artwork Part 3

 

So now that I have explained my interactions with Cy Twombly’s “Three Studies From the Temeraire” in detail, I am sure you are all wondering how it all ties in with the art market so I am going to tell you.

 

The continued resilience of an artwork in the art market relies on its ability to maintain peoples interest and evoke the sort or response that causes the artwork to remain in peoples thoughts. If an artwork gives away everything the first time you view it then there is no reason to go back to it and no reason why it should maintain your interest. If an artwork consists purely of the image you see at first glance and doesn’t involve ‘more than meets the eye’ then why would anyone want to pay large amounts of money to hang it on their wall.

 

temerair wideweb  430x178 My Personal Experience With A Cy Twombly Artwork Part 3

 

As I have mentioned many times before, the value of an artwork goes beyond the purely visual and although I have explained the visual factors that have contributed to the high value of “Three Studies From the Temeraire”, there are other contributing factors that have instigated, and provided momentum for, Twombly’s continued popularity and increase in value within the market.

 

Many of the underlying secrets and hidden aspects of an artwork are not able to be deciphered or discovered unless you know the artist and his work. A catalyst of some sort is required to initiate the interest in the artist’s work and expose the artists profile allowing the artwork to be revealed to the market which will then allow people to critique, question and comment. The catalyst may take the form of controversy, promotion, recognition, association, media coverage and other factors.

 

So as you can see the way that the art market puts a value on an artwork is quite complicated but with the right information and knowledge it can be understood.

 

nick nice1 My Personal Experience With A Cy Twombly Artwork Part 3**Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of artmarketblog.com, writes the art column for the magazine Antiques and Collectables for Pleasure and Profit and contributes to many other publications.

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