Patron-Artist Relations in the Renaissance :: essays research papers fc

Patron-Artist Relations in the Renaissance     The base of machinationist- patron relations has been a thin-skinned one since the beginning of the phenomenon. Nowadays it does not take such vast precedence, as the contrivanceist leans more(prenominal) toward a personal, individual type of art typical of freelance. Serious commissions exist only in public art and architecture, where the needs and feelings of a large group are considered. Artist and patron must work come out of the closet a compromise as to what is refreshing and also respects the aims of the artist. The patron in this good example slackly has the experience word, as demonstrated by Richard Serras Tilted Arc argumentation in the mid-80s where the artists piece was actually removed from its order because of public objection. However, nowadays the artist is insured against such damages, which was not the case in the beginning of the Renaissance, when artists were just starting to make a lift for themselves. At this time, artists still depended greatly on patronage for a vivacious and fought to distinguish themselves from the guild remains. They still succumbed to religious guidelines and subject matter which generally limited their exploration of more personal means of expression, but with the put up of secular art collectors such as the Medici, we see a more modern artist-patron relationship emerging. By so distinguishing themselves in their field, patrons gave them certain tolerance in commissions. Patrons and artists worked together, the patron outlining material, size, and general subject matter, but leaving artistic decisions concerning composition up to the best judgment of the artist--- the master--- himself.     Although there is evidence of a lord-retainer type of relationship between the patron and artist in several(prenominal) documents--- Domenico Venenziano writes to a lead Florentine patron, speaking of his low condition and how obligated(predicate) he is to the patron Matteo de Pasti writes to his patron about specific details concerning the subject matter of a work, referring to himself as the patrons least servant who wishes to obey his master Fra Filippo Lippi writes to Cosimo de Medici that he is here entirely to be a slave to you --- one must remember that Italy was still working out final kinks in a new middle-class-minded capitalist system, and dredges of the medieval system of feudalism still influenced aristocratic patrons. The artist could be building up trust and good relations so that he may be referred to other commissions and