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O direito de sequência dos artistas plásticos
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A presente dissertação versa sobre o instituto do direito de sequência – consagrado, no ordenamento jurídico português, no artigo 54.º do Código de Direito de Autor dos Direitos Conexos.
Trata-se de um direito atribuído aos autores de obras plásticas que tenham alienado o exemplar original, consistindo no poder de exigir uma participação no preço em caso de revenda do suporte corpóreo.
A figura assenta na consideração de que os artistas plásticos, ao contrário dos escritores e dos compositores, não têm no direito de reprodução e no direito de representação poderes satisfatórios no que respeita à exploração das suas criações. Com efeito, no caso das obras de arte plásticas, o exemplar original desempenha um papel capital, por isso que a criação intelectual só existe na medida em que o artista produza um suporte material. Este requisito constitutivo da obra artística torna a sua reprodução desinteressante: o verdadeiro valor (quer artístico, quer económico) reside no original.
Assim, é na alienação deste que o artista encontra o principal modo de explorar a sua criação. Ao fazê-lo,
porém, despoja-se da principal sua principal fonte de proventos. Mais tarde, se o adquirente vier a revender o exemplar, estará a praticar um acto equivalente ao do artista, no momento da alienação inicial, não quinhoando este, contudo, no preço realizado.
É uma tal participação que o direito de sequência vem criar, permitindo ao artista concorrer na dimensão da exploração da sua obra que se revela economicamente interessante: a alienação do original.
O instituto teve origem em França, no ano de 1920. Mais tarde, viria a ser consagrada – facultativamente embora – na Convenção de Berna, facto que em muito contribuiu para a sua divulgação. No essencial, até ao dealbar do presente século, assistia-se a uma divisão entre os sistemas que faziam o direito de sequência incidir sobre o preço de alienação, e aqueles que o estabeleciam apenas para a (eventual) mais-valia realizada pelo vendedor. Com a aprovação da Directiva n.º 2001/84, esbateu-se essa contraposição: no âmbito europeu, os Estados-membros tendem a regular o direito de sequência em termos uniformes, em particular estatuindo que a figura visa o preço de revenda.
Por fim, é debatida a concreta natureza jurídica do direito de sequência. Defender-se-á, aqui, que se trata de um direito de autor de natureza patrimonial. Ao contrário, porém, da generalidade dos Autores que expressam a mesma opinião, sustentar-se-á que o direito de sequência, como os demais poderes justauroais, incide, não sobre o exemplar original, mas sobre a obra do espírito que lhe está subjacente.
This dissertation regards the artist’s resale right (droit de suite), which, under Portuguese law, is established by article 54 of the Code of Copyright and Related Rights. The resale right is a power granted to the authors of artistic works that have transferred the original work to a third party, and it consists of the ability to demand a share of the price in the event of a resale of the original work. The resale right is provided for by law considering that artists, unlike writers and composers, have no real advantage in being granted a copyright with regard to their works. This is because, with respect to artistic creations, the original works plays an essential part, given that the work only exists when the artists applies his technique to the substance chosen for his work. Since an artistic work depends on this substantive intervention by the artists, making copies of it would have no economic interest: the true value (both artistic and economic) lies in the original work. Therefore, to profit from is creation, the artist needs to sell the work. However, in doing so the artist loses his main source of revenue. If, later on, the purchaser choses to sell the work, he shall be carrying out an act equivalent to that which the artist completed when he sold the work initially, but the artist would have no means to take part in the profit made by the purchaser with the subsequent sale. The resale right tries to solve this problem. It allows the artist to partake in the only act with economic importance with regard to the artistic creation: the sale of the original work The right was first established in France in 1920. It would later be provided for in the Berne Convention, albeit not in a mandatory manner. This lead several countries to set out the resale right in their laws. Until the turn of the century, there were two main systems: some countries established that the resale right was collected as a percentage of the price of the sale of the work; in other countries, however, the resale right was only applied to the profit made with the new sale (which meant that, when the price of the sale was not higher than the one of the previous acquisition, no resale right was due). With the approval and entry into force of Directive no. 2001/84, this division almost disappeared: within the European Union, member States provide for the resale right in a harmonized manner, and in particular establish that it its collected as a percentage of the price, whether or not a profit occurred. Experts disagree with respect to the nature of the resale right. We will demonstrate that the resale right is an economic author’s right. However, contrary to what the experts who hold this view usually suggest, we will show that the object of the resale right, just as the object of the remainder author’s rights, is the intellectual creation of the artist, and not the original work on which it is expressed.
This dissertation regards the artist’s resale right (droit de suite), which, under Portuguese law, is established by article 54 of the Code of Copyright and Related Rights. The resale right is a power granted to the authors of artistic works that have transferred the original work to a third party, and it consists of the ability to demand a share of the price in the event of a resale of the original work. The resale right is provided for by law considering that artists, unlike writers and composers, have no real advantage in being granted a copyright with regard to their works. This is because, with respect to artistic creations, the original works plays an essential part, given that the work only exists when the artists applies his technique to the substance chosen for his work. Since an artistic work depends on this substantive intervention by the artists, making copies of it would have no economic interest: the true value (both artistic and economic) lies in the original work. Therefore, to profit from is creation, the artist needs to sell the work. However, in doing so the artist loses his main source of revenue. If, later on, the purchaser choses to sell the work, he shall be carrying out an act equivalent to that which the artist completed when he sold the work initially, but the artist would have no means to take part in the profit made by the purchaser with the subsequent sale. The resale right tries to solve this problem. It allows the artist to partake in the only act with economic importance with regard to the artistic creation: the sale of the original work The right was first established in France in 1920. It would later be provided for in the Berne Convention, albeit not in a mandatory manner. This lead several countries to set out the resale right in their laws. Until the turn of the century, there were two main systems: some countries established that the resale right was collected as a percentage of the price of the sale of the work; in other countries, however, the resale right was only applied to the profit made with the new sale (which meant that, when the price of the sale was not higher than the one of the previous acquisition, no resale right was due). With the approval and entry into force of Directive no. 2001/84, this division almost disappeared: within the European Union, member States provide for the resale right in a harmonized manner, and in particular establish that it its collected as a percentage of the price, whether or not a profit occurred. Experts disagree with respect to the nature of the resale right. We will demonstrate that the resale right is an economic author’s right. However, contrary to what the experts who hold this view usually suggest, we will show that the object of the resale right, just as the object of the remainder author’s rights, is the intellectual creation of the artist, and not the original work on which it is expressed.
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Direito intelectual Direito de sequência Obras de arte Manuscrito Galerias de arte Museus Direitos de autor Teses de mestrado - 2018