Why people collect art?
Installation view of Make Room’s booth at Frieze Los Angeles, 2023. Photo by Casey Kelbaugh
Why people collect art?
The driving force behind art collectors, who are pivotal to the art world, is less about the aesthetic appeal of the art and more about how it aligns with their self-identity.
J. Paul Getty, a notable oil magnate, was known for his frugality. In his mansion in Surrey, England, he installed a payphone to deter guests from making long-distance phone calls. His reluctance to pay a ransom for his kidnapped grandson led to the kidnappers mailing Getty a piece of the boy's ear in frustration. Despite this, Getty invested heavily in art, spending millions on acquisitions and the establishment of the Getty Museum in Los Angeles. He described himself as an 'irrepressible addict of art collection,' often breaking his own promises to cease collecting, leading to 'substantial relapses.' Fear of flying and a busy schedule prevented him from ever visiting the museum he funded in California, despite residing in London.
Getty represents one of many throughout history who have passionately pursued art collection through various means including acquisition, spending, and sometimes theft. But what drives these collectors?
Historical debates on art collection trace back to the first century CE. Roman rhetorician Quintilian suggested that admiration for the primitive works of painter Polygnotus was a display of 'pretentious desire to appear tasteful.' This perspective still resonates with many.
While financial gain is a common motive for art collection, it doesn't fully explain the extent to which collectors indulge in this pursuit. Many buy art as an investment, benefitting from resale profits and substantial tax deductions for donations to museums. Some have even established private museums on their properties to enjoy artworks while still benefiting from tax deductions. More controversially, art is sometimes used for money laundering due to the ease of international movement without scrutiny.
However, for many collectors, profit is secondary to other values. Art collection serves as a means to establish and strengthen social connections, allowing collectors to express aspects of their identity within these networks. Similar to a child showcasing a collection to make friends, an art collector uses their collection to convey personal interests and tastes.
Contrary to the belief of competitiveness among collectors, many emphasize the importance of social networks and bonds with family, friends, scholars, and fellow collectors that are nurtured through their hobby. Their initial acquisitions often credit a social influence, like a family member or friend, rather than a solitary experience with art.
Even apparent exceptions underscore this social aspect. Oil tycoon Calouste Gulbenkian, who amassed an impressive art collection, referred to his artworks as 'my children,' prioritizing them over his actual offspring. His extreme privacy measures for his collection highlight the social significance of collecting, treating artworks almost as people. Upon his death in 1955, Gulbenkian's decision to establish a museum in Lisbon with his collection suggested a broader social concern beyond his immediate acquaintances.
Collectors also leverage their collections to send messages within their social circles. Art serves as a medium for collectors to express themselves, often reflecting their identity. Owning art connects collectors to the past and notable figures, allowing them to convey their perceived affiliations and essence.
The Attalids, who emerged after Alexander the Great's demise, were among the earliest art collectors, claiming a prestigious heritage. Alexander's general had entrusted 9,000 talents to his treasurer Philetaerus in Bergama, a fortified hilltop town in what is now western Turkey. Philetaerus seized this opportunity to establish his own kingdom by locking the town and utilizing the treasure. This marked the rise of the Attalid dynasty, who aggressively collected Greek artworks, exemplified by King Attalus I acquiring Aegina island to strip its artistic treasures for Pergamum's embellishment.
The Attalids' embrace of Greek art was a strategic choice to legitimize their rule as Alexander's successors, despite their initial betrayal. Other dynasties like the Seleucids, Antigonids, and Ptolemies, direct descendants of Alexander’s generals, justified their rule through this lineage. The Ptolemies of Egypt, emphasizing pure bloodlines, often married within the family, including Cleopatra, who married two brothers and had liaisons with Julius Caesar and Mark Antony.
This pattern of art collection as a symbol of power and legitimacy was replicated by various dynasties and rulers, including Charlemagne and Saddam Hussein. Similarly, private collectors like Getty invested in art to craft a sophisticated persona, countering his American origins. Getty, a self-made millionaire from oil ventures, initially retired for leisure but soon returned to amass a fortune. His art collection, focusing on Greek and Roman antiquities, contrasted with the prevailing American disinterest in ancient art, as exemplified by Ralph Izzard Middleton's disdain for such relics.
Middleton, like many 18th- and 19th-century Americans, viewed classicism with indifference, evident in the lackluster interest of tourists in Rome. This disinterest in antiquities in the U.S. might stem from the nation's origins, breaking away from the Old World and its aristocratic associations, particularly those of the 18th-century English elite whom Americans had opposed.
Getty, however, embraced a contrasting approach. He was fervently keen on aligning himself with European aristocracy. Despite his wealth, which could have easily bought the best translators, Getty chose to learn languages from records, practicing alone in his hotel rooms at night. His integration into various cultures went beyond language; he adopted their manners seamlessly, as noted by one of his wives, achieving a 'perfect coloration'.
Getty's main focus, however, was on the transformative power of art in shaping identity. He particularly favored antiquities that had connections to Emperor Hadrian or 18th-century English aristocracy. A prime example is the Lansdowne Hercules, which he believed had been owned by both Hadrian and the English aristocrats. He viewed his acquisition of this sculpture, displayed at the Getty Museum, as a symbol of Americanization, a transition from European to American hands.
Contrastingly, other collectors like Elie Borowski saw their collections as tools for broader messaging. Born in Poland and having survived the Holocaust, Borowski's interest in antiquities was ignited by an ancient Near Eastern cylinder seal. His collection was envisioned as a 'spiritual apothecary' to reinforce biblical truths and counter wartime horrors. He dedicated his life and wealth to educating about biblical cultures and art history, founding institutions in Toronto and Jerusalem.
However, Borowski's passionate belief in his collection's purpose led him to overlook antiquities laws, dealing with smugglers. His wife defended their actions, claiming they preserved history despite the dubious origins of their artifacts.
The persistent issue of looting, exacerbated by conflicts worldwide, highlights the social dynamics of art collecting. It's challenging to persuade collectors of the detrimental impact of their actions, as it often means questioning their identity and the connections formed within the art community. This difficulty, as Getty and others have found, is not easily surmounted.
