Que o dinheiro, pelo mecenato, fomente a Arte, que a Arte glorifique o dinheiro, retratando banqueiros, eis o trivial. Mas pode ir-se mais longe e colocar a questão da simbólica artística da legitimidade moral do dinheiro:
«The Church deemed it sinful to charge interest on loans, viewing it as profit without labour. This gave rise to artful and elaborate ways to disguise such profit-making, including foreign currency deals and triangular trading. The divergence of moral and commercial values can be seen in some Flemish paintings included here, such as Marinus van Reyerswaele’s “The Money Changer and his Wife”, in which a couple fixates on their coins while their candle is snuffed out».
Vem tudo aqui, a propósito de uma exposição, em Florença. Na sóbria revista The Economist.
«The Church deemed it sinful to charge interest on loans, viewing it as profit without labour. This gave rise to artful and elaborate ways to disguise such profit-making, including foreign currency deals and triangular trading. The divergence of moral and commercial values can be seen in some Flemish paintings included here, such as Marinus van Reyerswaele’s “The Money Changer and his Wife”, in which a couple fixates on their coins while their candle is snuffed out».
Vem tudo aqui, a propósito de uma exposição, em Florença. Na sóbria revista The Economist.
