<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2448-718X</journal-id>
<journal-title><![CDATA[El trimestre económico]]></journal-title>
<abbrev-journal-title><![CDATA[El trimestre econ]]></abbrev-journal-title>
<issn>2448-718X</issn>
<publisher>
<publisher-name><![CDATA[Fondo de Cultura Económica]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-718X2017000200463</article-id>
<article-id pub-id-type="doi">10.20430/ete.v84i334.308</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[¿Dinero o trascendencia? La frivolidad del arte durante el Rococó]]></article-title>
<article-title xml:lang="en"><![CDATA[Money or Transcendence? The Frivolity of Art During the Rococo]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Ponzio de León]]></surname>
<given-names><![CDATA[Carlos Alejandro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Comisión Federal de Competencia Económica  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>México</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2017</year>
</pub-date>
<volume>84</volume>
<numero>334</numero>
<fpage>463</fpage>
<lpage>487</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-718X2017000200463&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-718X2017000200463&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-718X2017000200463&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN  Antecedentes:  Durante el siglo XVIII surgió un estilo distintivo de arte, el Rococó, expresión de frivolidad y juicio &#8220;conocedor&#8221;, donde hubo pocos avances en materia visual. El principal objetivo de este trabajo es establecer un modelo teórico que relacione la caída en el mecenazgo real para las artes con una disminución en la creatividad impregnada a las obras.  Métodos:  Se presenta un modelo teórico sobre la interacción entre artistas plásticos y galeristas del siglo XVIII, el cual permite estudiar el nivel de creatividad óptimo que los artistas impregnaban a sus obras de arte.  Resultado:  El modelo predice una relación positiva entre patronazgo real y nivel de creatividad.  Conclusiones:  La muerte del Rey Luis XIV y la consecuente reducción en el mecenazgo real podrían explicar la caída, documentada por los historiadores del arte, en el nivel de complejidad de las obras producidas durante el periodo Rococó.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT  Background:  During the 18th century, a distinctive art style emerged, the Rococo, expression of frivolity and connoisseur taste, where little advances were made in the visual realm. The main objective of this paper is to present a theoretical model that relates royal patronage with artist&#8217;s creativity.  Methods:  This paper presents a theoretical model on the interaction between artists and gallerists of the 18th century, and it allows to study the optimal level of creativity applied by artists to their works.  Results:  The model predicts a positive relationship between royal patronage and creativity.  Conclusions:  The death of King Louis XIV and the consequent reduction in royal patronage could explain the decline, documented by art historians, in the level of complexity of art works produced during the Rococo period.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[contrato]]></kwd>
<kwd lng="es"><![CDATA[mercado de arte]]></kwd>
<kwd lng="es"><![CDATA[creatividad]]></kwd>
<kwd lng="es"><![CDATA[Rococó]]></kwd>
<kwd lng="es"><![CDATA[grandes maestros de la pintura]]></kwd>
<kwd lng="en"><![CDATA[contracts]]></kwd>
<kwd lng="en"><![CDATA[art markets]]></kwd>
<kwd lng="en"><![CDATA[creativity]]></kwd>
<kwd lng="en"><![CDATA[Rococo]]></kwd>
<kwd lng="en"><![CDATA[great masters of painting]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Adams]]></surname>
<given-names><![CDATA[L. S.]]></given-names>
</name>
</person-group>
<source><![CDATA[A History of Western Art]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[McGraw-Hill]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[A Theory of Rational Addiction]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Becker]]></surname>
<given-names><![CDATA[G. S.]]></given-names>
</name>
<name>
<surname><![CDATA[Murphy]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Journal of Political Economy]]></source>
<year>1988</year>
<volume>96</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>675-700</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Boden]]></surname>
<given-names><![CDATA[M. A.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Creative Mind, Myths and Mechanisms]]></source>
<year>1991</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bryant]]></surname>
<given-names><![CDATA[W. D. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Creativity and the Behavior of Artists]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ginsburgh]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of the Economics of Art and Culture]]></source>
<year>2006</year>
<volume>1</volume>
<page-range>507-29</page-range><publisher-loc><![CDATA[Ámsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Elsevier]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Camacho]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Belda-Navarro]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Álvaro-Zamora]]></surname>
<given-names><![CDATA[M. I.]]></given-names>
</name>
</person-group>
<source><![CDATA[El Arte Barroco]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Dastin Export]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chomsky]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Language and Mind]]></source>
<year>1972</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Harcourt Brace Jovanovich]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Crow]]></surname>
<given-names><![CDATA[T. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Painters and Public Life in Eighteenth-Century Paris]]></source>
<year>1985</year>
<publisher-loc><![CDATA[Connecticut ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Bolton]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Armstrong]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Art as Therapy]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Phaidon Press Limited]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Marchi]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Miegroet]]></surname>
<given-names><![CDATA[H. J. Van]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The History of Art Markets]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ginsburgh]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of the Economics of Art and Culture]]></source>
<year>2006</year>
<volume>1</volume>
<page-range>67-122</page-range><publisher-loc><![CDATA[Ámsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Elsevier]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dickins]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Historia del arte]]></source>
<year>2013</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Usborne Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ginsburgh]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of the Economics of Art and Culture]]></source>
<year>2006</year>
<volume>1</volume>
<publisher-loc><![CDATA[Ámsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Elsevier]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ginsburgh]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of the Economics of Art and Culture]]></source>
<year>2014</year>
<volume>2</volume>
<publisher-loc><![CDATA[Ámsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Elsevier]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Glorieux]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[A l&#8217;Enseigne de Gersaint: Edme-François Gersaint, marchand d&#8217;art sur le Pont Notre-Dame]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Belley, Francia ]]></publisher-loc>
<publisher-name><![CDATA[Champ Vallon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gombrich]]></surname>
<given-names><![CDATA[E. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[La historia del arte]]></source>
<year>1997</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Phaidon Press Limited]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Haskell]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Patrons and Painters: Art and Society in Baroque Italy]]></source>
<year>1980</year>
<publisher-loc><![CDATA[Connecticut ]]></publisher-loc>
<publisher-name><![CDATA[Yale University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Janson]]></surname>
<given-names><![CDATA[H. W.]]></given-names>
</name>
<name>
<surname><![CDATA[Janson]]></surname>
<given-names><![CDATA[A. F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Basic History of Art]]></source>
<year>1996</year>
<edition>5a</edition>
<publisher-loc><![CDATA[Boston, Massachusetts ]]></publisher-loc>
<publisher-name><![CDATA[Allyn & Bacon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kalfina]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<source><![CDATA[From Hollywood to ancient Thrace: Two Types of Artistic Reception of Antoquity]]></source>
<year>2015</year>
<conf-name><![CDATA[ 20International Academic Conference of Madrid]]></conf-name>
<conf-loc>Madrid </conf-loc>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kimball]]></surname>
<given-names><![CDATA[S. F.]]></given-names>
</name>
</person-group>
<collab>Museo de Arte de Filadelfia</collab>
<source><![CDATA[The Creation of the Rococo]]></source>
<year>1964</year>
<publisher-loc><![CDATA[Filadelfia ]]></publisher-loc>
<publisher-name><![CDATA[Museo de Arte de Filadelfia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lang]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Taking the Leap: Building a Career as a Visual Artist]]></source>
<year>2006</year>
<publisher-loc><![CDATA[San Francisco, California ]]></publisher-loc>
<publisher-name><![CDATA[Chronicle Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McCain]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Defining Cultural and Artistic Goods]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ginsburgh]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Handbook of the Economics of Art and Culture]]></source>
<year>2006</year>
<volume>1</volume>
<page-range>147-67</page-range><publisher-loc><![CDATA[Ámsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Elsevier]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[Estimates of the Number of Dutch Master Painters, their Earnings and their Output in 1650]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Montias]]></surname>
<given-names><![CDATA[J. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Leidschrift]]></source>
<year>1990</year>
<volume>6</volume>
<page-range>59-74</page-range></nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[A Theory of Auctions and Competitive Bidding, II]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Milgrom]]></surname>
<given-names><![CDATA[P. R.]]></given-names>
</name>
<name>
<surname><![CDATA[Weber]]></surname>
<given-names><![CDATA[R. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Econometrica]]></source>
<year>1982</year>
<volume>50</volume>
<numero>5</numero>
<issue>5</issue>
<page-range>1 089-122</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nozick]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Philosophical Explanation]]></source>
<year>1981</year>
<publisher-loc><![CDATA[Cambridge, Massachusetts ]]></publisher-loc>
<publisher-name><![CDATA[Harvard University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Raux]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Eléments sur les ventes publiques de peinture a Lille au XVIIIe siécle, á partir de la dispersión des collections des chanoines]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Raux]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Collectionner dans les Flandres et la France du Nord au XVIIIe Siécle]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Lille, Francia ]]></publisher-loc>
<publisher-name><![CDATA[Université Charles-de-Gaulle]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[Creativity in the Arts and the Sciences]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Simon]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Kenyon Review]]></source>
<year>2001</year>
<volume>23</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>203-21</page-range></nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<article-title xml:lang=""><![CDATA[The Production and Consumption of the Arts: A View of Cultural Economics]]></article-title>
<person-group person-group-type="author">
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Journal of Economic Literature]]></source>
<year>1994</year>
<volume>32</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>1-29</page-range></nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Throsby]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Economics and Culture]]></source>
<year>2001</year>
<publisher-loc><![CDATA[Cambridge, Massachusetts ]]></publisher-loc>
<publisher-name><![CDATA[Cambridge University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Van der Woude]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Volume and Value of Paintings in Holland at the Time of the Dutch Republic]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Freedberg]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Vries]]></surname>
<given-names><![CDATA[J. De]]></given-names>
</name>
</person-group>
<source><![CDATA[Art in History, History in Art: Studies in Seventeenth-century Dutch Culture]]></source>
<year>1991</year>
<page-range>285-329</page-range><publisher-loc><![CDATA[California ]]></publisher-loc>
<publisher-name><![CDATA[Getty Center for the History of Art and the Humanities]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
