Patronage of the Arts - Renaissance and Reformation - Oxford Bibliographies
Artists and young patricians met at a property the Medici owned around the the perfection of art in his time, and to the illustrious ancestor of his own patron. concept of patronage existed long before the Renaissance (14th - 17th . Because of this meeting of several guilds for such special works, the guilds were . When Jacob Burckhardt wrote his formative social history of the Renaissance in , he emphasized the role of the enlightened patron as the.
The Evolution of the Artist's Studio, From Renaissance Bottega to Assembly Line
Like art itself, the artist's studio is always a reflection the spirit of the times. Below is our history of the evolution of the artist's studio in Western art, from the Renaissance to today. Artists entered as apprentices, doing menial tasks until they proved themselves talented enough to learn the art of their masters. Figures like the Flemish master Jan van Eyck made important developments in oil painting techniques, which allowed for the careful and hyper-realistic depiction of everyday objects—often inflected with allegorical meaning—over a slow, drawn-out process of mixing, layering, and drying.
This is especially true in the famous case of Rembrandt's series of more than 50 self-portraits produced over the course of his lifetime, despite the fact that the term "self-portrait" didn't actually exist in the artist's lexicon until a century later.
The Academic salons were the major European art events of the century, and formed the foundation against which avant-garde artists like Edouard Manet would react in the early s.
Warhol was the king of the silkscreen, a way of quickly printing images that could be repeated over and over. The main innovation of Warhol's studio was the fact that it was known equally for its amphetamine-fueled parties and rotating cast of personalities as it was for the art it produced.
Of course, the '60s also saw artists like Donald Judd engaging with actual factories as well, shopping out the fabrication of minimal, industrially-inspired sculptures to professional fabricators and manufacturers. OK, that might be an exaggeration, but the professional polish on Koons's Cheslea art factory is unprecedented. The artist, who will enjoy his first major museum retrospective at the Whitney Museum of American Art starting on June 27th, employs literally hundreds of assistants who are specialists in painting, casting, finishing, computer graphics, and so on; each the master of one very refined, and very specific, skill.
Many are struggling artists themsleves, some of whom go on to have their own successful careers. The evidence for patronage exists in the relationships that can be established between and among people and things.
Scholars rely on the study of primary archival and documentary sources and the physical examination of extant buildings and objects that can be linked to those relationship networks. Ideally, patronage relationships are reconstructed both from subjective and objective primary documentary sources, ideally from letters exchanged between patrons to artists and vice versa, through narrative accounts of objects and their makers made to secondary correspondents e.
Painting and Experience in Fifteenth-Century Italy: Oxford University Press, The Civilization of the Renaissance in Italy.
Italian Renaissance Learning Resources - The National Gallery of Art
Burckhardt traces the origins of the Renaissance to the rise of the individual and the cradle of modernity and focuses on the key roles played by great men as patrons and makers of art and culture.
Culture and Society in Italy. Princeton University Press, Patrons and Artists in the Italian Renaissance.
Art of the Italian Renaissance Courts. Synthesizes the most-important works associated with aristocratic patronage throughout Italy. The Character of Renaissance Patronage.
Meet the family that sparked the Renaissance era
Edited by David G. Wilkins and Rebecca L. Medieval and Renaissance Studies Esch, Arnold, and Christoph Luitpold Frommel, eds. Arte, committenza ed economia a Roma e nelle corti del Rinascimento — Atti del convegno internazionale, Roma 24—27 ottobre Piccola Biblioteca Einaudi Excellent essays by prominent international scholars on patronage at the various Italian courts, from the conference of the same name held 24—27 October in Rome.
For example, patrons were rather fussier about family history than fidelity to Biblical accounts. Offers nuanced insights into the processes of communication involved in commissioning works of art and glimpses into the tensions between economic and content control on the one hand, and artistic creative control on the other.
Patronage in Renaissance Italy: From to the Early Sixteenth Century.
The interpretive focus in often on artistic and architectural patronage as the manifestation of personal or dynastic status and power, and the demonstration of wealth and faith.