Claartje Rasterhoff

Painting and Publishing as Cultural Industries

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The Dutch Republic was a cultural powerhouse in the modern era, producing lasting masterpieces in painting and publishing-and in the process transforming those fields from modest trades to booming industries. This book asks the question of how such a small nation could become such a major player in those fields. Claartje Rasterhoff shows how industrial organisations played a role in shaping patterns of growth and innovations. As early modern Dutch cultural industries were concentrated geographically, highly networked, and institutionally embedded, they were able to reduce uncertainty in the marketplace and stimulate the commercial and creative potential of painters and publishers-though those successes eventually came up against the limits of a saturated domestic market and an aversion to risk on the part of producers that ultimately brought an end to the boom.

Language

English

ISBN

Unknown

Cover

Contents

Acknowledgements

List of figures, tables, and illustrations

Figures

Fig. 1.1 – Number of painters and publishers active in the Dutch Republic, 1580-1800

Fig. 1.2 – Representation of diamond model (Michael Porter)

Fig. 1.3 – Stylized ‘life cycle’ representation of industrial development

Fig. 2.1 – Number of publishers (left) and number of titles (right) in the Northern Netherlands/ Dutch Republic, 1570-1620

Fig. 2.2 – Distribution of publishers in 1580 (left) and 1610 (right)

Fig. 3.1 – Number of publishers (left) and titles (right), 1600-1700

Fig. 3.2 – Title production in Dutch per 100,000 literate adults, 1580-1700

Fig. 3.3 – Distribution of titles according to size, Abraham I Elzevier, 1625-1650

Fig. 3.4 – Distribution of titles produced in Amsterdam according to size, 1590-1670

Fig. 3.5 – Paper prices per ream in guilders in Amsterdam, 1570-1699

Fig. 4.1 – Local shares of book production, measured in number of people active per decade (%), 1585-1699

Fig. 4.2 – Distribution of publishers in 1610 (left) and 1650 (right)

Fig. 4.3 – Entry rates, exit rates, turbulence rates, and number of newcomers (semi-log scale), per year in Amsterdam, 1580-1700 (clockwise)

Fig. 4.4 – Five and ten year survival chances of new Amsterdam-based firms in their commencement decade, 1590-1700

Fig. 5.1 – Number of publishers (left) and titles (right) in the Dutch Republic, 1670-1800

Fig. 5.2 – Local shares of book production, measured in number of people active per decade (%), 1660-1799

Fig. 5.3 – Distribution of publishers in 1680, 1710, 1740, and 1780

Fig. 5.4 – Entry rates Amsterdam publishers (%), 1600-1800 (10-year moving average; including half of one-year hits)

Fig. 5.5 – Number of entries in the Amsterdam booksellers’ guild per year, 1600-1800

Fig. 6.1 – Number of painters active in the Dutch Republic 1580-1620

Fig. 6.2 – Entry rates and number of newcomers in the seven largest towns (left) and Amsterdam (right), 1585-1610

Fig. 6.4 – Distribution of painters in 1580 (left) and 1610 (right)

Fig. 7.1 – Number of active painters in the Dutch Republic per year, 1590-1670

Fig. 7.2 – Age cohort significant European painters, per decade, 1600-1810

Fig. 7.3 – Entry rates and number of newcomers in the seven largest towns (left) and Amsterdam (right), 1590-1670

Fig. 7.4 – Number of prominent painters born per decade, 1540-1680, per sample

Fig. 8.1 – Number of painters active in the seven largest artistic communities, 1600-1650

Fig. 8.2 – Distribution of painters in 1650 (left) and 1680 (right)

Fig. 8.3 – Distribution of prominent painters, according to main work location (C sample), start career between 1590-1629 (left), and between 1630-1669 (right)

Fig. 9.1 Number of painters active in the Dutch Republic, 1580-1800

Fig. 9.2 Entry rates and number of newcomers in the seven largest towns (left) and Amsterdam (right), 1650-1700

Fig. 9.3 – Number of painters active in the seven largest artistic communities, 1650-1700

Fig. 9.4 – Distribution of prominent painters, according to main work location (C sample), start career between 1630-1669, 1670-1709, 1710-1749, 1750-later

Fig. 9.5 – Artists in A/B (left) and C samples (right), distributed according to decade of birth, 1630-1770

Fig. 9.6 – Number of annual registrations in the Amsterdam Guild of St. Luke, 1750-1800

Fig. 9.7 – Occupational distribution of entrants in the Amsterdam Guild of St. Luke, 1750-1800

Tables

Table 1.1 – Properties of creative industries

Table 2.1 – Distribution of publishers in the Dutch Republic, 1570, 1585, and 1610

Table 2.2 – Distribution of names found on imprints published or printed in Amsterdam, 1585-1589 and 1600-1604

Table 2.3 – Genre distribution Cornelis Claesz (1582-1609), Harmen Jansz Muller (1572-1617), and Laurens Jacobsz (1588-1603)

Table 4.1 – Distribution of booksellers, titles, and non-ephemeral titles, 1610-1619 and 1650-1659

Table 4.2 – Output per firm active in Amsterdam 1585, 1600, 1630, 1674

Table 4.3 – Distribution of Amsterdam publishers according to size, 1585, 1600, 1630, 1674

Table 4.4 – Concentration indices Amsterdam 1585, 1600, 1630, 1674

Table 4.5 – Concentration indices Amsterdam per genre 1600-1609, 1650-1659

Table 5.1 – Distribution of booksellers, titles, and non-ephemeral titles, 1700-1709 and 1770-1779

Table 5.2 – Concentration indices Amsterdam 1674, 1710, 1742

Table 5.3 – Number and geographical distribution of major publishers, 1575-1800

Table 5.4 – Output per firm active in Amsterdam 1674, 1710, 1742

Table 5.5 – Distribution of Amsterdam publishers according to size, 1585, 1600, 1630, 1674, 1710, 1742

Table 6.1 – Number of painters per 10,000 inhabitants, 1570-1610

Table 6.2 – Origin of entrants in the top ten artistic centres, 1580-1610

Table 6.4 – Samples of prominent artists based in the Dutch Republic, 1580-1800

Table 6.3 – Place of origin of painters active in eight top artistic centres, 1580-1610

Table 8.1 – Number of painters per 10,000 inhabitants, 1610-1640

Table 8.2 – Number of painters active in the Dutch Republic in the fifteen largest towns, 1600-1699

Table 8.3 – Distribution of painters according to place of birth, born between 1540-1670

Table 8.4 – Distribution of painters according to main work location, born between 1540-1670

Table 8.5 – Distribution of spin-offs according to starting location, A sample

Table 8.6 – Distribution of spin-offs according to main work location, A sample

Table 8.7 – Relation between variables, per birth cohort, A sample

Table 9.1 – Place of birth and main work location, AB samples, artists active in the eighteenth century

Table 9.2 – Place of birth and main work location, C sample, birth cohorts 1630-1790

Table A1 – Number of producers in Amsterdam prosopographies per benchmark year

1. Introduction

The Dutch Golden Age

Cultural industries

Spatial clustering

A dynamic analytical framework

Book structure and approach

Part I – Publishing

2. 1580-1610: Window of Opportunity

The Dutch Revolt, an external shock

New publishers, new markets

New markets, new products

Business structure and strategy

Conclusion

3. 1610-1650: Unlocking Potential

Differentiation of demand

Book sizes and prices

Related and supporting industries

Conclusion

4. 1610-1650: Buzz and Pipelines

A polycentric urban structure

Local competition

Openness and embeddedness

Conclusion

5. 1650-1800: Mature Markets

Economic setbacks

International markets

A reading revolution?

Geographic distribution

Related and supporting industries

From production to distribution

Distribution and finance

Reproduction of skills and routines

Competition

Conclusion

Part II – Painting

6. 1580-1610: A Period of Transition

Expansion of the art market

Spatial clustering and the impact of immigration

Measuring artistic prominence

Prominence in Dutch painting

Styles, genres, and ties with related industries

Conclusion

7. 1610-1650: Unlocking Potential

Golden Age painting

From large potential to real consumption

Artistic novelties of the 1610s and 1620s

Product and process innovations

The invisible hand of supply and demand

Competition

Conclusion

8. 1610-1650: Buzz and Pipelines

Geography of production

Quality and quantity

Spin-offs and spillovers

Institutional organization

Distribution

Conclusion

9. 1650-1800: Mature Markets

The downturn in the art market

Geographic distribution

Artistic decline

Artists’ strategies

Luxury and elegance

Institutional organization

Conclusion

10. Conclusion

The life cycles of painting and publishing

Painting and publishing as cultural industries

Spatial clustering as an explanatory framework

Creative flames and golden ages

Appendix 1. Methods and Data

Sources and Bibliography

Index

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