Ational aconomy Essay

A joint venture is a partnership created by agreement between the parties to share in the losses and profits of the venture. But it is unlike a partnership in that the venture is for one specific project only, rather than for a continuing business relationship. If we speak about two great artists: Anrie Matisse and Pablo Picasso the idea about their joint venture could be expressed in the words: â€Å"History of success or How they never worked together but influenced upon each other†. When Picasso met Matisse, his French was poor and he was not so experiencied as his older college. Fernande Olivier said: † Matisse, beaucoup plus age, serieux circonspect, n’avait pas les idees de Picasso. † Pole Nord † et † Pole Sud â€Å", disait-il en parlant d’eux deux. † He characterized Matisse in those words: † Le type du grand maitre: visage aux traits reguliers, a la forte barbe doree, Matisse etait sympathique. Il semblait cependant se derober derriere ses grosses lunettes, reservant l’expression de son regard mais parlant longuement des qu’on l’entreprenait sur la peinture. Il discutait , affirmait, voulait convaincre. Il avait deja pres de 45 ans, tres maitre de lui a l’encontre de Picasso, timide, toujours un peu maussade et gene dans ces sortes de reunions. Matisse brillait et s’imposait. Ils etaient les deux artistes de qui on attendait le plus. † Leo Stein, collector and mecenate said that disorder and dust (â€Å"le desordre et la poussiere†) was usual medium for Picasso versa order and calms (â€Å"l’ordre et le calme†) for Matisse. They were competitors but they were were friendly competitors. Matisse’s focus was color and lines while Picasso put form above all. And it is so strange to read words of some art experts (Robert Rosenblum) about their competition: â€Å"This is like the heavyweight championship of the art world†¦ like the battle of the titans, like the Montagues and Capulets. One of the exciting things about it is the friction, the rivalry, the give and take. † Well, what art production was the result of two or more artists working together as a joint venture? Historically the first examples of joint venture were seven wonders of the ancient world. I can not recollect names of all authors of the Great Pyramids at Giza, the Hanging Gardens at Babylon, the Statue of Zeus at Olympia, the Temple of Artemis at Ephesos, the Mausoleum at Halicarnassus, the Colossus of Rhodes and the Pharos (Lighthouse) at Alexandria. Nobody can. But I should try. The biggest and the most successful project is Khufu’s pyramide. So, what parties we have in this joint venture? Producer and general director: Great King Pharao Khufu. Architect and executive director – Khimeun. Other participanys: hundreds of unknown artists. Tourists want to look at this specimen of ancient art and they ready to pay for this pleasure. Some kinds of arts are syntetic by their nature. Like opera, which is â€Å"a drama set to music and made up of vocal pieces with orchestral accompaniment and orchestral overtures and interludes† (www. m-w. com). So several persons participate in developing opera: composer and conductor (music), writer (libretto), scenograph and director (performance). Success of the performance depends not only on music or text but on every participant. Painters usually work independently. Leonardo da Vinchi made picture â€Å"Babtize of Christ† (Andre Veroneze’s workshop) to be more expensive when he put his hand to an angel and landscape. But when young Leonardo worked with Veroneze he was only his apprentice. Some artists created consortium which became brend name of their production. Soviet caricaturists Kupriyanov Mikhail, Krilov Porfiri and Sokolov Nikolay were teamed up during second world war and their caricaturs signed as KUKRINIKSI. Work in harmony – is ideal. But artist team creates atmosphere of inspiration which helped individuals to produce true chedevre. â€Å"This was a project conceived of with joy and optimism, it was carried out with faith and love†¦ faith that we could, as a team, work collectively to create something much greater than each of us individually and love because that’s why we make street paintings – we love what we do. † – these words of participant of street painting festival demonstrated advantages of team work and joint venture in the art. So, the oldest story is relationship of master and apprentice. The apprentice system, through which new artists learned the trade ensured that styles of art were continued from master to apprentice. An apprenticeship was an obligation of future painter members and normally lasted from four to six years. This period spent in a recognized master painter’s workshop insured the young artist a thorough familiarization with the complexities of his craft. Laborious task like hand grinding of mineral paints was often left to the apprentice. In the master’s studio the apprentice was exposed to the many thoughts, opinions and artistic theories which circulated with great fluency from one artist’s studio to the other’s. Painter’s studios were often lively places frequented by artist, patrons and men of culture. Animated artistic debates as well as exchanges of information concerning the art market were the norm. The apprentice, within the space of a few years, was personally exposed to an endless stream of ideas and information which passed every day through the master’s studio. He was allowed to work on the less important areas of the master’s own paintings such as large areas of unmodulated color or monotonous areas of foliage in the background. The master closely followed his pupil’s progress and corrected him when needed. Some extremely talented artists were able to leave the master’s studio within a few years. Rembrandt progressed so rapidly that he already had pupils of his own at the age of 21. An apprentice’s first tasks were humble: sweeping, running errands, preparing the wooden panels for painting, and grinding and mixing pigments. As the apprentice’s skills grew, he would begin to learn from his master: drawing sketches, copying paintings, casting sculptures, and assisting in the simpler aspects of creating art works. The best students would assist the master with important commissions, often painting background and minor figures while the Master painted the main subjects. The few apprentices who showed amazing skill could eventually become masters themselves. A very few became greater artists than their masters. As the apprentice’s skills improved he worked on the more complex areas such as drapery and the secondary objects seen in the painting. Once the apprentice had gained sufficient mastery, he was allowed to conceive and execute his own paintings, but could neither sign nor sell them. This could be done only after he had undergone the entrance exam of the guild. Another advantage of being a guild member was permission to sell paintings of other artists as well in order to increment his earnings. It’s very difficult to call this relationship true joint venture. But we could find some parallels in the modern business. For example iFIDs. com is a joint-venture partnership between Thunder Bay International Airport Inc. and Aviation InterTech. iFIDs. com came about when the airport went looking for a flight information display system for the terminal to fit their budget and Aviation InterTech came up with a low-cost Internet-based solution. Another axample: the joint venture have been formed recnetly between BBC Worldwide Americas Inc. (BBCWA) and New York merchant banking firm Veronis Suhler. The venture will initially focus on acquiring consumer lifestyle and informational publishing properties with cross-media expansion potential. It incorporated the BBC’s existing and future North American businesses in publishing including video, books and magazines. The 50/50 joint venture is being capitalized at $100 million of equity, with significant purchasing power beyond this. The company will be managed jointly by both partners. You see: joint venture in the art is always virtual. But JV in the business – is very important part of world and national aconomy.