Интересный материал на Воксе – http://www.voxeu.org/article/innovations-painters-between-renaissance-and-rococ-towards-economic-theory-art-history. Первая часть посвящёна о финансовом вознаграждении концептуальных и экспериментальных инноваторов в искусстве. Вторая – ещё интереснее, на примере венецианского арт-рынка 16-18 вв. демонстируется влияние экономических стимулов на инновации в искусстве. Очень советую прочитать всё, а я процитирую только вывод:
In conclusion, where art is traded in a competitive market, artistic innovations are market driven. Not by chance, artistic innovations aimed at enhancing realism such as the use of perspective, the adoption of a full set of oil colours, the reproduction of correct shadows, or the use of external sources of light did not emerge in painting traditions without a well developed art market or based on demand from a wealthy elite that was entirely centralised (such as Byzantine art, Chinese art, Indian art or Islamic art).
They did emerge where the art market was competitive and demand derived from a large group of decentralised and often private buyers (such as Italian art and Flemish/Dutch art). Here, the artists stopped being craftsmen paid with a constant wage and became entrepreneurs who looked for profits. As the painter and art critic Giorgio Vasari wrote in 1568: “If in our century there were enough profits, we would paint greater and better works than the older masters.” Vasari was the first to mention competition as one of the sources of Florentine leadership in Renaissance art. He was a precursor of an economic theory of art history.