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The field of socioeconomic studies can be weighed as a set of competitive research programs dedicated to the interpretation of certain empirical or historical phenomena. Then, the identification and characterization of such programs constitutes a real problem that is not always satisfactorily addressed and solved. From this point of view, the characterization will begin, precisely, with the identification of the nuclear hypotheses.
The article therefore sets out to expose the nuclear hypotheses of different socioeconomic research programs, starting from a primary definition: the idea of the market and its relationship with the idea of society, i.e., the set of relationships that define human sociality.
It will be argued here that socioeconomic research requires not only to interpret the nature of markets in modern social life, but also to place it within the framework of a broader interpretation of human socialization. Consequently, any socioeconomic program must not only define this relationship, but the progressivity or regressivity of each program will also depend on it.
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George Vincent (baptized 27 June 1796 - c 1832) was a British landscape painter who produced watercolors, etchings and oil paintings. He is considered by art historians to be one of the leading artists of the Norwich school of painters,a group of artists connected by location and personal and professional relationships, who drew their inspiration mainly from the Norfolk countryside. Vincent's work was based on the Dutch school of landscape painting and the style of John Crome, also of the Norwich School. The reputation of the school outside East Anglia in the 1820s rested largely on the works of Vincent and his friend James Stark.
Vincent, the son of a weaver, was educated at Norwich Grammar School and was later apprenticed to Crome. He exhibited at the Royal Academy of Arts, British Institution and elsewhere. From 1811 to 1831 he exhibited at the Norwich Society of Artists, where he exhibited over 100 images of Norfolk landscapes and marine works. By 1818 he had moved to London, where in 1821 he married the supposedly wealthy daughter of a surgeon. There he gained the patronage of wealthy clients, but still had financial problems. The purchase of an expensive house, combined with a tendency to drink, exacerbated his financial problems leading to his imprisonment in Fleet Prison for debt in 1824. Before his release in 1827 he had resumed his connection with the Norwich Society of Artists, albeit with a much smaller output of work.