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In his forthcoming book Painters, Work and Art Markets, economist and artist Andrés Solimano offers an ambitious exploration of art that moves well beyond conventional art history. Instead of treating painting merely as an aesthetic pursuit, Solimano examines art through the lenses of economics, finance, social history and human creativity, presenting a wide-ranging study of how artists create, survive and interact with increasingly complex global markets.
The book begins with a simple but powerful observation: art occupies a unique place in modern society. In a world often dominated by political conflict, economic uncertainty and social tension, art provides both an escape and a means of understanding reality. Yet art is also a marketable asset, increasingly sought after by wealthy collectors looking for alternative stores of value. This dual nature, as both cultural expression and financial asset, lies at the heart of Solimano’s analysis.
The Evolution of Contemporary Arts Markets looks at the historical evolution of the art market from the 15th century to the present day. Art is both an expression of human creativity and an object of economic value and financial refuge at times of economic turbulence. Historically, the art market evolved with the development of capitalism, finance and technical change, and art schools responded to social events such as wars, revolutions and waves of democratization. Buy the book >
A central theme is the evolution of the global art market. Solimano traces its development from Renaissance Europe through the rise of Paris, London and New York as artistic and commercial centres. He highlights the distinction between primary markets, where artists sell their work for the first time, and secondary markets, dominated by dealers, collectors and auction houses. The emergence of influential dealers and galleries played a crucial role in transforming art into an internationally traded commodity.
Today’s art market, however, bears little resemblance to its historical predecessors. Solimano argues that the growth of global wealth, particularly among ultra-high-net-worth individuals, has fundamentally reshaped the sector. The market has become increasingly polarised, with a small number of prestigious galleries and auction houses serving the world’s wealthiest buyers, while thousands of smaller galleries cater to a broader public. This concentration of wealth has contributed to soaring prices for elite artworks and has increasingly transformed art into an investment class.
Yet the author is careful not to reduce art solely to economics. One of the book’s most compelling discussions concerns the artist as a producer. Solimano examines the reality that many artists struggle financially despite creating work of significant cultural value. Drawing on examples ranging from Vincent van Gogh to Paul Gauguin, he explores the often-precarious relationship between artistic creativity and economic survival. The romantic image of the artist is contrasted with the practical challenge of earning a living from artistic production.
Another fascinating dimension of the book is its discussion of perspective and representation. Solimano investigates how painters transform a three-dimensional world into a two-dimensional surface, examining both the traditional rules of linear perspective and alternative approaches developed by artists such as Cézanne, Picasso and David Hockney. In doing so, he demonstrates that artistic innovation often emerges from challenging accepted ways of seeing.
The second half of the book turns to four influential artists: Claude Monet, David Hockney, Yves Klein and Roberto Matta. Through these case studies, Solimano explores different approaches to creativity, innovation and artistic influence. Monet’s revolutionary treatment of light and colour, Hockney’s experimentation with multiple perspectives, Klein’s monochromatic explorations and Matta’s surrealist visions become vehicles for examining broader questions about artistic originality and cultural impact.
Ultimately, Painters, Work and Art Markets argues that art cannot be understood through a single discipline. It is simultaneously a cultural practice, a source of beauty, a social institution, a profession and a marketplace. By combining economic analysis with artistic insight, Solimano offers readers a rare interdisciplinary perspective on how creativity, money and society intersect in the contemporary world. As global art markets continue to expand and prices reach unprecedented levels, his work provides a timely reminder that behind every painting lies not only a financial transaction, but also a human act of imagination and creation.
About Andrés
Andrés Solimano FIMC is a member of the Governing Board of the Investment Migration Council (IMC) and serves as its Chair and Chief Economist. He is also Founder and Chairman of the International Center for Globalization and Development (CIGLOB) in Santiago, Chile.
A Chilean-Italian economist, he holds a Ph.D. in Economics from the Massachusetts Institute of Technology (MIT) and has built an internationally recognised career analysing globalisation, economic development, wealth concentration, international migration and capital flows.
He has held senior international roles, including Country Director at the World Bank, Executive Director at the Inter-American Development Bank, and Director of the project on International Mobility of Talent with the United Nations University – World Institute for Development Economics Research.
Alongside his academic and policy work, Solimano has developed a distinguished artistic career as a painter. His work spans watercolour, pastel, acrylic and oil painting, with a particular passion for plein-air painting.
Bridging economics and art, his publications include The Evolution of Contemporary Arts Markets: Aesthetics, Money and Turbulence and Arte, Mercado y Sociedad en Tiempos Turbulentos.
For those interested in the intersection of art, economics, and global perspectives check Asolimano.art , www.ciglob.org or follow him on Instagram @asolimanor.
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