Go for Fractional Shares

Art is expensive. This has deterred some people from capitalizing in the markets as they lack hundreds or thousands of dollars to buy a piece of art. However, the high cost of entry is no longer an issue.
Thanks to companies such as YieldStreet and MasterWorks, you can invest in the market even with a smaller budget. These companies buy and sell art, divide the amount into fractions, and sell it to investors.
In other words, you don’t have to spend thousands or millions of dollars to buy a piece of art. Instead, you can spend as little as $500, a fraction of the total price, and earn profits once the companies sell the art.
So, if you are a beginner investor, you can work with MasterWorks, as it allows you to invest a minimal amount. This amount is divided into shares priced as low as $20 each. In case you want out, you can use the company’s exclusive market to sell your shares.
If you have a bigger budget, such as $10,000 and above, you can work with YieldStreet. While you can still invest $500 with this company, you will get better returns for investing over $10,000.

Starting budget

Some traders buy stocks, some commodities and some – artworks. Do you now believe you make some money in the art market? With as little as $500, you can start making money from a piece of art worth millions.
Art trading goes the same way as with online trading financial derivatives. For example traders can make profits on both rising and falling prices of an underlying asset. In addition they use leverage of up to 200 times their funds in order to increase potential gains. So, choose your preferred market investment method and start making money.

Buy Art and Sell Later

Another way to venture into the market is by buying art and selling it later. You must do your homework prior to buying art. That way, you are assured of a good investment.
In other words, it is crucial to purchase art that appreciates. The best investment should give you at least a 7.6% profit.
Selling this type of art can be challenging unless you have a good network. This is because it is difficult to find someone who knows and values your piece’s worth. However, you can sell it through a fine art sale house.
But, you will not pocket the entire profit. Usually, an auction house can take 5% of the 25% of the sale price.
These are several ways of determining whether your investment is worthwhile. For example, you can find more about the art piece, the artist, or the art dealer. This information you get can tell you whether the piece is likely to appreciate or not.
For example, if a piece of art has the artist’s autograph, it is likely to increase in value. You can also look at the price of a similar art from other auctions to determine your new selling price.

Art Flipping

You must have heard about a house or car flipping. Art flipping is similarly lucrative. This is a process of buying art, hoping to resell it in five to ten years.
This form of investment is for people feeling lucky or having data to rely on to predict the price of a piece in the future. In other words, art flipping does not always guarantee profit. You might buy a piece today expecting to make a killing only to lose thousands of dollars. However, if you are lucky, you will sing to the bank.
Some arts have appreciated by over 450%. For example, the Basquiat painting by Jean-Michel was sold for $9 million between 2005 and 2012. This was a 450% price increase.
Art flipping is flawed as it promotes the hiking of prices. This hurts upcoming artists. This is because the art enters a new market, robbing the original artist of any profits from sales. However, if this is not a problem for you, you can make a killing here.

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Conrad Martens (1801-1878) can be considered one of the first Australian artists to have truly independent significance, who initially worked as a master of landscape watercolors in the style of meticulous documentary art. At the time, this genre of landscape painting was widespread in Australia. Gradually, Marten turned to a more romantic interpretation of nature. The best watercolor landscapes of Martens are usually dedicated to views of the most beautiful Sydney harbor. Another artist who achieved great popularity in Australia and England was Samuel Thomas Gill (1818-1880) – the first master of the genre and especially satire, who worked mainly in the field of magazine graphics and lithography.

The next important stage in the development of the fine arts of Australia is associated with the name of Ebram Louis Buvelot (1814-1888), a Swiss painter who moved to Melbourne as a fifty-year-old master. He worked in a manner akin to the Barbizon school, and was the first to lay the solid foundations of realistic landscape painting in Australia, the “father” of which he was not without reason called. He achieved greater success than the diligent “documentary filmmakers” of the mid-19th century, finding subtle tonal relationships and masterfully conveying the generalized golden illumination of the late afternoon sun (for example, Summer Evening at Templestow, 1866; Melbourne, National Museum of Victoria).

Genre and landscape painting reached its peak in Australia at the end of the 19th century. This most important period in the development of national painting is associated primarily with the names of Thomas William Roberts (1856-1931), Frederick McCubbin (1855-1917) and Arthur Streeton (1867-1943).

Studied with L. Buvelot, TU Roberts, already in one of his first genre paintings “Sailing to the South” (1886; private collection), manifests himself as an attentive observer of reality, avoiding even the slightest violation of the likelihood of what is depicted. Featuring a ship deck full of emigrants moving to Australia from Europe in search of a new life, which was so typical of the era, Roberts drew on numerous preliminary drawings from life.

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Another famous artist of this time was John Longstaff (1862-1941), who studied in Paris, in the workshop of Cormon, who was a fashionable portrait painter, but deserves attention for his paintings dedicated to the first Expeditions to explore Australia. Burke, Wills and King Arrival at Cooper Bay (1902-1907; Melbourne, National Museum of Victoria) expressively portray tragic figures of exhausted travelers against the backdrop of a desolate landscape, painted from meticulous sketches from nature.

The largest representative who began to develop in the 20th century. in the Australian painting of academicism was George Lambert (1873-1930), who was born in Russia. Working in Paris until 1921 (where he left Australia in 1900), he did not accept modernist influences and was interested in the old masters and Édouard Manet. Despite his virtuoso skill (he was a brilliant draftsman), a touch of saloonism is sometimes felt in his painting. Typical of his work is the striking socialite portrait “White Glove” (Sydney, Art Gallery of New South Wales).

On the eve of the First World War, the first trends of modernism began to penetrate into Australia, but its adherents were few in number until the 30s. their art did not matter much. After the war, the realists of the 1890s finally gain recognition, they have followers who, however, did not have the same keen perception of life and were more closely aligned with academic tendencies. Among them is the portrait painter Max Meldrum (b. 1875). The developing school of landscape painters was of more progressive importance, among which, in addition to A. Striton, G. Hazen (b. 1877), and R. Drysdale, who headed it, should be mentioned. These artists were able to convey the originality of Australian nature in their landscapes.

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Another major contemporary Australian artist is Russell Drysdale (b. 1912). Carried away at the beginning of his work (late 30s – early 40s) primitivism, he gradually moves to the position of realistic reproduction of reality, his works become more convincingly material, space is conveyed more truthfully. The best works of Drysdale are characterized by a characteristic restrained severity and inner drama, which, however, is not expressed in the depiction of any external strong action. Among his best works is a portrait of two children (1946; Melbourne, National Museum of Victoria) —a pair of a boy and a girl, whose images are full of inner wariness and some kind of hidden sadness. A sense of tragedy is full of the painting “White Mountain” with the figure of a native woman holding her child on her knees, against the background of a harsh and deserted yellow-red landscape with a mountain dimly whitening in the distance.

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These bright, interesting and surprisingly harmonious plots were created by people who have no knowledge of color or composition. With the help of these pictures, Australian aborigines tried to express their feelings, relationships, show the world around them, everything that worried them, pleased, surprised, frightened and….

Since these plots are drawn very simply, we can easily understand their meaning, or feel the emotions of the author. The paintings of Australian aborigines are woven from an incredible number of dots, smooth “flowing” lines – which gives these creations a special charm and mystery.

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