Artistic portrayal of the worlds of work and business, and the economic world more generally.

Until now, this artistic genre has never been conceptualised or organised. This, then, is our mission. Art faber has catalogued numerous works - almost 25,000 to date. Eminent artists, particularly in Europe since the eighteenth century, have contributed in its growing importance. Contemporary design continues to enrich the field of Art faber through the fine arts, photography, literature, cinema and music among other areas.

What is Art faber?

“If we could rid ourselves of all pride, if, to define our species, we kept strictly to what the historic and the prehistoric periods show us […], we should say not Homo sapiens, but Homo Faber. ”
Henri Bergson, Philosopher and Nobel Laureate for Literature,
Creative Evolution, 1907.

Homo Faber — the productive man — is at the centre of human history and identity. Man's faber-related, productive, trading and, more generally, economic activity has long been a source of inspiration for artists whose works make up Art faber:

••• Albrecht Dürer • Andreas Gursky • Hans Holbein le Jeune • Charles Dickens • Johannes Vermeer • Canaletto • Joseph Wright of Derby • William Turner • Claude Monet • Constantin Meunier • Paul Friedrich Meyerheim • Adolph Von Menzel • Emile Zola • Léon Tolstoï • Thomas Mann • Marcel Duchamp • Giacomo Balla • Fritz Lang • Annie Ernaux • Fernand Léger • Ken Loach • Hilla et Bernd Becher • Walker Evans • Charles Sheeler • John Steinbeck • Laurence Stephen Lowry • Edwards hopper • Lewis Hine • François Kollar • Germaine krull • Ed Rusha • Roy Lichtenstein • Andy Warhol • Arman • Charlie Chaplin • Duane Hanson • Pehr Hilleström • Stéphane Couturier • Liu Bolin • Emile Verhaeren • David Lodge •••
Claude Monet, Impression Sunrise levant, 1872
Claude monet, Impression Sunrise,
Claude Monet, Impression Sunrise levant, 1872
1872. Tous droits réservés, Musée Marmottan-Monet, Paris.
Charlie Chaplin, Modern Times, 1936
Giuseppe Verdi, Blacksmiths, 1857
Constantin Meunier, Hammer-man, 1890
Constantin Meunier, Hammer-man,
Constantin Meunier, Hammer-man, 1890
Tous droits réservés, Royal Museums of Fine Arts of Belgium
Le Figaro, Futurisme
Dynamisme d'une automobile
John Steinbeck, Grapes of wrath, 1939
John Steinbeck,
Grapes of wrath,
John Steinbeck, Grapes of wrath, 1939
Charles Sheeler, Ford Plant, River Rouge, Blast Furnace and Dust Catcher, 1927
Charles Sheeler,
Ford Plant, River Rouge, Blast Furnace and Dust Catcher,
Charles Sheeler, Ford Plant, River Rouge, Blast Furnace and Dust Catcher 1927, MoMA
November 1927, MoMA, NY. © 2019 The Lane Collection
Charles Sheeler, Buddenbrooks, 1901
Thomas Mann,
Thomas Mann, Buddenbrooks 1901
Adolph Von Menzel, Forge, 1875, Berlin
Adolph Von Menzel, Forge (Les Cyclopes modernes),
Adolph Von Menzel, Forge 1875, Berlin
1875, Alte Nationalgalerie, Berlin. © Nationalgalerie, Staatlichen Museen zu Berlin / Andres Kilger

Art faber brings together all forms of aesthetic expressions (fine art, photography, literature, poetry, cinema, music etc.) of the productive world in its artisanal, industrial, commercial and, more generally, economic dimensions.
They revolve around 5 key themes:

Landscapes and infrastructures
Processes of production and commercialisation
Economic agents
Economic concepts

Why promote Art faber ?

“Here at the dawn of the twenty-first century, there is a need to appropriately value and promote an artistic genre, a genre with a heritage both historic and contemporary, one that harbours the highest qualities, yet has never hitherto been organised, never reasoned: the Arts dedicated to the portrayal of the world of work and business. This assertion of artistic value will also serve to promote one of the primary manifestations of human identity, that of Homo Faber: a creative, productive, artisanal, commercial human, an economic agent, a social economic actor. The third industrial revolution unfolding before our eyes here at the dawn of the twenty-first century must be captured, as Monet did with such success in the nineteenth century. We must promote this artistic genre that is so fundamental to human identity. The time is now! ”
Pr Renaud Sainsaulieu and Jérôme Duval-Hamel,
Pourquoi j’irais travailler ?, Symposium, Sciences Po Paris, 2002.

How to promote Art faber ?

  1. By conceptualising Art faber and promoting it as a major thematic art form, in particular through the publication of conceptual texts.

  2. By identifying, grouping and promoting the cultural heritage of Art faber through, for example: the publication of hitherto unpublished anthologies, thematic texts, international museum exhibitions, the creation of a virtual museum.

  3. By promoting the work of contemporary artists and scientists on the theme of Homo Faber, man the maker, in particular through the creation of the collection Nouveaux Regards Contemporains (New contemporary Perspectives) collection, museum exhibitions and exhibitions in economic environments, international symposia.

This project, which promotes Art faber has been initiated by businesses, universities (art history, economics, management, law, literature, musicology, sociology and philosophy) and French and international artists.

It is under the patronage of the French Minister for Labour and is co-chaired by Professor Lourdes Arizpe, former Assistant Director General for Culture at UNESCO and President Emeritus of the International Social Science Council, the World Congress on the Status of the Artist and President of the International Union of Anthropological Sciences, and by Professor Jérôme Duval-Hamel, President of the Lab. Industries & Cultures / EDMP – University of Paris II, former director of large industrial groups, Honorary President of the European Society for industrial art and aesthetics, President of the Prix officiel franco-allemand des industries culturelles (Franco-German official prize for cultural industries).

The project is supported administratively by the Lab. Industries & Cultures.


Graphic design


Cispeo → Lucas Descroix
Verdana → Matthew Carter

© 2020 / EDMP, Paris II

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