A Practical Guide to Affiliate Marketing: Quick Reference for Affiliate Managers & Merchants

A Practical Guide to Affiliate Marketing: Quick Reference for Affiliate Managers & Merchants

A Practical Guide to Affiliate Marketing was written to be an indispensable handbook for all affiliate managers and merchants, alike. In addition to providing concrete, practical answers to common (as well as not-so-common) questions, the book gives usable ideas on promoting affiliate programs, along with ways to keep affiliates motivated. This guide presents the author’s information in a logical, convenient format.

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A few nice marketing definition images I found:

IMG_4040 Peder Severin Krøyer 1851-1909. Copenhague, Paris, Skagen. Le Comité pour l’exposition de l’art français à Copenhague en 1888 The Committee for the exhibition of French art in Copenhagen in 1888 Copenhague Collection Hirschsprung
marketing definition
Image by jean louis mazieres
Peder Severin Krøyer 1851-1909. Copenhague, Paris, Skagen.
Le Comité pour l’exposition de l’art français à Copenhague en 1888
The Committee for the exhibition of French art in Copenhagen in 1888
Copenhague Collection Hirschsprung

LA RUPTURE IMPRESSIONNISTE

Une partie des peintres de Skagen s’inspire des impressionnistes français et leur voyages à Paris furent fréquents.
L’impressionnisme n’a pas été facilement accepté en France. Les techniques impressionnistes, l’esquisse et le tachisme, heurtaient les habitudes antérieures.
L’esquisse a toujours existée. Elle permettait de conclure un contrat avec les commanditaires en leur donnant une idée du tableau, et de la manière dont le peintre envisageait de traiter le sujet. L’esquisse était nécessaire pour avoir le droit de se présenter à l’Académie. Mais les commanditaires exigeaient, au final, une oeuvre achevée, au dessin rigoureux, fini, précis. Un peintre n’était pas reçu à l’Académie sur une esquisse.
L’impressionnisme prenait le contre-pied de cette esthétique classique en faisant de l’esquisse et du tachisme un système.
D’un point de vue classique un tableau impressionniste n’est pas achevé.
Les impressionnistes, systématisaient l’Art du Flou.
Parmi les techniques développées au cours du 19è siècle l’Esquisse a été une des meilleures expressions de l’Art du Flou.
L’Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d’une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d’art du flou.
L’Esquisse a été dans l’histoire de la peinture un projet, une étude préparatoire, qui permettait à l’artiste de s’assurer de la cohérence et de l’équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n’est qu’une approximation, un brouillon, le témoin d’un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l’esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C’est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n’est pas une définition mathématique, mais c’est la meilleure.
L’esquisse n’est une oeuvre achevée que lorsqu’elle est créatrice d’une atmosphère singulière, particulièrement suggestive, porteuse d’une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l’imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l’imaginaire, alors que le flou qui caractérise l’esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c’est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l’a poussé le plus loin, a été William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l’art de l’esquisse, et comme lui de l’Art Moderne. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d’autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L’Art de l’esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu’en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d’art.
Le flou peut n’être qu’une approximation, bâclée, dont finalement la valeur marchande ne tient qu’à la signature d’un grand nom, et surtout à un marché dont les buts ne sont aucunement artistiques.
Jean Auguste Dominique Ingres (1780-1867) l’adversaire de Eugène Delacroix disait " le dessin est la probité de l’art". Il faut comprendre que le dessin, exact et précis, est une exigence et un préalable à tout art de la peinture. Il n’avait pas totalement raison, mais il n’avait pas non plus totalement tort.

Il ne faut pas exagérer les résistances à l’impressionnisme et surtout ne pas confondre, comme on le fait trop souvent, ces résistances avec la situation de l’art contemporain officiel qui s’est imposé dans les musées européens à partir des années 1950 et suivantes. A l’origine de l’impressionnisme sont des peintres populaires en rupture avec l’esthétique officielle prônée par l’Académie de peinture de Paris qui contrôlait notamment l’accès au Salon annuel. Cette résistance, et celle d’une certaine critique, a été tournée très vite avec les Salons des refusés, dès 1863, le dernier salon des refusés ayant eut lieu en 1886. En réalité la résistance des peintres de l’Académie a été brisée dès 1881. Les artistes impressionnistes français ont connu la célébrité de leur vivant et fait immédiatement école dans toute l’Europe. Aussi bien auprès des élites que des populations.
Absolument à l’opposé de l’impressionnisme à ses débuts, l’art contemporain est un art tout à fait officiel, faussement révolutionnaire, mais totalement académique, imposé par les élites idéologiques et politiques occidentales qui ont construit pour lui des musées particuliers conçus par les plus grands architectes du temps. La peinture contemporaine constitue effectivement un art en rupture totale avec l’art antérieur par sa consécration du laid et de l’absurde. Mais cette rupture n’a aucune origine populaire, c’est une "révolution" totalement organisée d’en haut par une poignée "d’éclairés" disposant du pouvoir, et de beaucoup d’argent. L’art contemporain a été dès son origine, aux Etats Unis entre les deux guerres, puis en Europe à partir de la seconde guerre mondiale un art au service des pouvoirs, et en rien un art populaire et résistant. Par contre ce sont les peuples qui ont déserté et continuent de déserter les salles d’art contemporain. Ce qui n’a jamais été le cas pour les impressionnistes. Manet a été célèbre dès le salon des Refusés de 1863.
Une comparaison entre la situation des impressionnistes avec celle des artistes de l’art des rues né dans le courant des années 1960, serait bien plus pertinente. Si on ne la fait pas, c’est une fois de plus la démonstration que l’art est un des hauts lieux de la manipulation idéologique et politique des peuples. Cela a été le cas en Europe de l’art catholique à l’époque médiévale, de l’art orthodoxe, des choix esthétiques des protestants, bien sûr de l’art baroque et classique, des arts communistes, nationaux-socialistes, et de l’art contemporain. La seule période où l’art européen a été multiforme et s’est inventé en dehors des idéologies et des cercles politiques au pouvoir c’est précisément la période de l’art moderne de 1850 à 1950. Parce qu’à cette époque il existait des idéologies concurrentes et qu’aucune ne disposait entièrement du pouvoir d’imposer l’art qui lui convenait. Et si notre époque connaît effectivement une peinture qui vit en dehors des cadres officiels, ou même en rupture avec eux, c’est dans l’art privé, l’art commercial et l’art des rues qu’il faut le chercher. Pas dans les collection permanentes des musées d’art contemporain.

THE IMPRESSIONIST RUPTURE

Some of Skagen’s painters were inspired by French impressionists and their trips to Paris were frequent.

The Impressionism was not easily accepted in France. The Impressionist techniques, the sketch and the tachism were contrary to previous habits. The sketch has always existed. It allowed to conclude a contract with sponsors. The sketch gave them an overview of the table, and how the painter was planning to address the issue. The sketch was necessary to have the right to appear at the Academy. But the sponsors demanded a finished work, the rigorous drawing, finished, accurate. We were not admitted to the Academy on a sketch.
The Impressionism was taking against the foot of this classic aesthetics by making the sketch and tachisme a system.
From a classical point of view an impressionist painting is not completed.
The Impressionists, systematized the Art of Blur.

Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch and like him of Modern Art. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
The Blur can only be an approximation, botched, whose market value stands only in the signature of a great name, and especially to a market, whose goals are in no way artistic.
Jean Auguste Dominique Ingres (1780-1867), the opponent of Eugène Delacroix, said: "Drawing is the probity of art". Understand that drawing, accurate and precise, is a requirement and a prerequisite for any art of painting. He was not totally right, but he was not completely wrong.

The resistance to Impressionism should not be exaggerated and, above all, it should not be confused, as is too often the case, with the situation of official contemporary art which has been imposed in European museums from the years 1950 and onwards. At the origin of Impressionism are popular painters who broke with the official aesthetics of the Paris Academy of Painting, which controlled access to the annual Salon. This resistance, and that of a certain criticism, was bypassed very quickly with the salons of the refused, since 1863, the last salon of the refused having taken place in 1886. In reality the resistance of the painters of the Academy was broken as soon as 1881. French impressionist artists were famous during their lifetime and immediately influenced all European painting. Among both elites and populations.
Absolutely the opposite of early Impressionism, contemporary art is an entirely official, falsely revolutionary, but totally academic art imposed by Western ideological and political elites who have built for them special museums designed by the greatest architects of the time. Contemporary painting is indeed an art in complete rupture with the prior art by its consecration of milk and absurd. But this break has no popular origin, it is a "revolution" totally organized from above by a handful of "enlightened" people with power and a lot of money. Contemporary art has been afterwards the beginning, in the United States between the two wars, then in Europe after the second world war an art in the service of the powers, and in no way a popular and resistant art. On the other hand, it is the peoples who have deserted and continue to desert the rooms of contemporary art. Which has never been the case for the Impressionists. Manet was famous at the Salon des Refusés of 1863.
A comparison between the situation of the impressionists and that of the artists of the street art, born in the course of the 1960s, would be much more relevant. If we do not do it, it is once again the demonstration that art is one of the high places of the ideological and political manipulation of peoples. This was the case in Europe of medievalCatholic art, Orthodox art, aesthetic choices of Protestants, of course Baroque and Classical art, Communist arts, National Socialist arts and of the contemporary art. The only period when European art has been multiform and invented outside the ideologies and political circles in power is precisely the period of modern art from 1850 to 1950. Because at that time there existed competing ideologies and none of them had the power to impose the art that she wanted. And if our time actually knows a painting that lives outside official frameworks, or even breaks with them, it is rather in private art, commercial art and street art that we must look for it. Not in the permanent collections of Contemporary Art museums.

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