- 6 x 9.
- 2 B&W photographs.
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- $78.00 U.S.
"We have to thank Craufurd Goodwin for the diligence and skill with which he has collected and arranged the most relevant texts and for an introductory interpretation which guides the reader through them. The resulting volume makes fascinating reading and will be a valuable source for historians of early twentieth century thinking."
—Anthony Brewer, University of Bristol
". . . Goodwin has provided us with an admirable introduction to Fry's life and work and how to place him within the context of economic discourse."
—Alan Peacock, The David Hume Institute, Edinburgh, Journal of the History of Economic Thought, Volume 22, No. 1 (2000)
"This is not a book to be read from cover to cover. But wherever he dips, the reader will find evidence of a curious, acute and original mind; while the arts' administrator will still find much that is relevant for contemporary arts policy."
—Robert Skidelsky, Charleston Magazine, Winter 2000
"All those interested in the arts and economics, and their connections, will be delighted by this collection, as will be students of Bloomsbury."
—Peter Stansky, Stanford University
"Art and the Market uncovers new connections between aesthetics and art in the Bloomsbury Group. . . . Goodwin adds significantly to the understanding of cultural economics in the work of Fry himself as well as J. M. Keynes and even Leonard and Virginia Woolf."
—S. P. Rosenbaum, University of Toronto
"A fascinating selection of essays by one of the twentieth century's most thoughtful and stimulating critics. Goodwin's introduction sets the stage beautifully, providing useful links to Veblen and Keynes."
—D. E. Moggridge, University of Toronto
"[Fry's] ideas about relations between artists and consumers, art economics, auctions, market conditions, art and science, public policy, and teaching should stand the test of time. The seventeen essays reprinted here offer good thoughts for pondering today's art, its market, and public policy. Art economists, art historians, art policy makers, marketers, and philosophers of art will find them stimulating."
—W. L. Whitwell, formerly, Hollins College, Choice, June 1999
". . . the intelligence and daring of Fry's more speculative thoughts on art and the market are needed very badly indeed. The situation is a little dire. . . [These essays] lift the debate to where it belongs."
—Chase Madar, Art Book, September 1999