Kunst als gunst? Een onderzoek naar de motieven en belangen die een rol speelden in de mecenaatsrelatie tussen mecenas Han Nefkens en museumdirecteur Sjarel Ex

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dc.contributor.advisorBraber, H.M. van den
dc.contributor.advisorHarings, J.K.
dc.contributor.authorJennissen, B.H.J.M.
dc.date.issued2018-09-28
dc.description.abstractThis master thesis aims on researching the motives and interests that play a role in the patronage relationship of Han Nefkens and Sjarel Ex, during the years 2000 until 2011. The primary section of this thesis focuses on the theoretical framework, which forms the basis of this research. The first half of the theoretical framework sets out to gain an appropriate understanding of the patronage relationship by defining the principles of the role of patronage within the Dutch cultural field. Subsequently several social aspects of patronage are taken into account, which are explained with Bourdieu’s field theory and his ideas about the exchange of capital and power, Komter’s gift theory that explains six motives for giving, and Bekkers’ and Wiepkings research that explains eight mechanisms that mainly drive charitable giving. Together these theories give insight in the motives and interests of the patronage relationship between Han Nefkens and Sjarel Ex. The case study, which is presented in the secondary section of this thesis, describes the patronage relationship in two periods, the Centraal Museum period (2000-2004) and the Museum Boijmans van Beuningen period (2004-2011). From both periods five moments are analyzed that were decisive for the relationship. The results of this analysis shows that Han Nefkens had several motives in both periods, although occurring in different quantities in the second period. These motives were power, prestige, positive feelings, self-interestedness, reciprocity and equality, and uncertainty. Furthermore, Nefkens’ benefit from this relationship was the exchange of economic capital for social, cultural and symbolic capital, which would be used to gain power within the cultural field. This could be useful to further develop himself as an initiator and co-creator of artworks. In the case of Sjarel Ex, reciprocity and equality, and self-interest as motives led to the initiation of the patronage relationship. These motives remained of importance in the second period of the patronage; however, Ex also used power, prestige, and positive feelings as motives. He had his own intentions for initiating this relationship with Nefkens, namely, to investigate whether a structural bond with a patron, would be useful for his museum and himself. Ex aimed for economical capital to increase the museum’s budget. Later, he needed Nefkens help to maintain the good reputation of Museum Boijmans van Beuningen after it experienced several setbacks. Nefkens’ support served as an example to potential sponsors. In addition, both parties had the well-being of the museums in mind as well as their own. This mix of underlying motives of the patronage ultimately ensured the investment of both parties in this patronage relationship.en_US
dc.identifier.urihttps://theses.ubn.ru.nl/handle/123456789/6413
dc.language.isonlen_US
dc.thesis.facultyFaculteit der Letterenen_US
dc.thesis.specialisationKunstbeleid en mecenaaten_US
dc.thesis.studyprogrammeMaster Kunst- en Cultuurwetenschappenen_US
dc.thesis.typeMasteren_US
dc.titleKunst als gunst? Een onderzoek naar de motieven en belangen die een rol speelden in de mecenaatsrelatie tussen mecenas Han Nefkens en museumdirecteur Sjarel Exen_US
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