By David W. Galenson

At what degree in their careers do nice artists produce their most crucial paintings? In a chain of experiences that deliver new insights and new dimensions to the examine of creative creativity, Galenson’s new booklet examines the careers of a couple of hundred sleek painters, poets and novelists to bare a robust dating among age and creative creativity.

Analyzing the careers of significant literary and creative figures, similar to Cézanne, van Gogh, Dickens, Hemingway and Plath, Galenson highlights the various equipment wherein artists have made concepts.

Pointing to a brand new and richer historical past of the trendy arts, this book is of curiosity, not just to humanists and social scientists, yet to an individual drawn to the character of human creativity in general.

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Only two of the 12 paintings most highly esteemed by French scholars – Courbet’s Young Women and Rousseau’s Snake Charmer – fail to appear among the 21 most favored by American scholars. 2 therefore clearly show that there is no significant disagreement between French and American art scholars on the identity of the painters and paintings that constitute the canon of French modern art. But as with the American rankings, examination of the French rankings raises several intriguing puzzles. 2. 2.

This chapter extends this investigation, testing its conclusions by extending its analysis to a new body of data. Chapter 1 used a quantitative analysis of the illustrations contained in published surveys of modern art to produce measurements of art historians’ own judgments of the relative importance of modern French painters, and paintings. That study drew its evidence from 33 books published in English during the past three decades. One further question raised by this procedure concerned the possible impact of culture: would French scholars define the canon of French modern art differently from American and English scholars?

It is consequently to be hoped that this demonstration of the value of quantification in a discipline in which it has been sorely neglected will not only inspire more scholars to bring quantitative methods to bear on art history, but will also prompt others to devote greater efforts to producing more considered and insightful criticisms of their results. ”2 Yet Rosenblum’s belief is mistaken. As in other disciplines, quantitative evidence in art history has proven useful not only for constructing explanations, but for identifying problems to be explained.

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