PATRONAGE

Who were patrons of art?

1. Patrons were often divided into church (ecclesiastical) and lay
(non-church) patrons.
 Church as Major Patron: Historically, the Church was a dominant patron
of art, leading to the prevalence of religious themes in European art from
the 4th to the 17th century.
 Laymen Commissioning Religious Art: In Renaissance Italy, many
religious paintings were commissioned by laymen for family chapels or
private homes (e.g., Palla Strozzi’s *Adoration of the Magi* for his
family chapel).
 4. Clergy Commissioning Secular Art: Despite being part of the Church,
clergy also commissioned secular works, like Raphael’s *Parnassus* for
Pope Julius II.
 5. Secularization of Patronage: There is insufficient evidence to
determine whether

2. Public vs. Private Patrons

 Guild Patronage (Public): Guilds in Florence commissioned art for
public spaces
 Important patrons across Italy, often commissioned large-scale works.
 Republics and principalities commissioned major works.

2. Private Patrons:
 Individuals from Varied Social Classes: Patronage wasn’t limited to
elites; merchants, artisans, and even peasants commissioned art.
 *Female Patrons**:
 Nuns and Laywomen: Important yet often overlooked patrons, especially
widows with more freedom.

How patrons and artists met

How Artists Acquired Patrons:

1. Direct Approach: Artists would approach patrons directly or through
intermediaries.
 - Example: Domenico Veneziano wrote to Piero de' Medici in 1438,
requesting mediation to secure a commission from Cosimo de' Medici.

2. Petitioning: Artists often petitioned for commissions, especially for

prestigious projects.
- Example: Alvise Vivarini petitioned the Doge of Venice to paint for the Hall
of the Great Council.

3. Networking and Family Connections: Artists often relied on friendships,

family ties, or connections to secure patronage.
- Example: Giorgio Vasari worked for the Medici due to his distant relation to
their guardian.
- Example: Baccio Bandinelli used his father’s connection to the Medici to
secure commissions.

How Patrons Acquired Artists:

1. Recommendations: Patrons often sought advice from experts or trusted
individuals.
- Example: Lorenzo de’ Medici recommended Giuliano da Maiano to Prince
Alfonso of Calabria.

2. Intermediaries: Princes or powerful patrons sometimes employed

intermediaries, such as court officials, to hire artists.
- Example: The Sforza family in Milan used court officials to commission
artists.

3. Financial and Stylistic Considerations: Patrons sometimes chose artists based

on cost or artistic style.
- Example: The Duke of Milan’s agent selected the cheaper offer for a chapel
commission.
- Example: Ludovico Sforza’s memorandum compared artists like Botticelli
and Perugino based on their styles.
4. Competitions: Formal competitions were held to select artists for important
commissions, especially in republics like Florence and Venice.
- Famous examples: Ghiberti won the competition for the *Baptistery doors*,
and Brunelleschi won for the *Florence Cathedral dome*.

The motives for patronage

Main Motives for Art Patronage:
1. Piety (Religious Devotion):
- Many patrons commissioned art out of religious devotion, reflected in the
dominance of religious paintings and sculptures.
- Contracts often mentioned the "love of God" as a motive for commissioning
works.
2. Prestige (Distinction and Honor):
- Art patronage was a way to elevate one's status or showcase family honor.
- Example: Giovanni Tornabuoni commissioned frescoes for his family
chapel, displaying the family coat of arms for "exaltation of his house."
- Art could also boost political prestige for rulers, enhancing their reputation.
- Example: Piero de' Medici's lavish tabernacle to display his wealth.
3. Pleasure (Personal Enjoyment):
- Patrons took personal delight in owning and displaying beautiful objects like
paintings and sculptures, whether for aesthetic pleasure or decoration.
- Example: Isabella d'Este commissioned works simply because she enjoyed
having them.
Other Potential Motives:
- Investment: Though some have suggested this, there's little evidence before
the 18th century that patrons viewed art as an investment for future profit.
Education's Role:
- Patrons with a humanist education, like the Gonzagas, Medicis, and the rulers
of Este, were more likely to appreciate art for its intellectual and aesthetic value.
Expectations & Contracts

Whoever the client of Renaissance art, they could be very particular about what
the finished article looked like. This was because art was not merely produced
for aesthetic reasons but to convey meaning, as mentioned above.
As a consequence of the expectation of patrons, and in order to avoid
disappointment, contracts were commonly drawn up between artist and patron.
The design, whether of a statue, painting, baptistery font, or tomb, might be
agreed on in detail beforehand. There could even be a small scale model or a
sketch made, which then became a formal part of the contract
he fees for a project were set out in the contract and, as in the example above,
the completion date was established, even if negotiations might continue long
after to amend the contract After a contract was signed, a copy was each kept by
the patron, artist, and public notary
Despite the contractual restrictions, we can imagine that many artists tried to
push the boundaries of what had been previously agreed upon or simply
experimented with novel approaches to a tired subject matter. Some patrons, of
course, may even have encouraged such independence, especially when
working with more famous artists. However, even the most renowned artists
could get into trouble
In short, though, litigations for breaches of contract were not an uncommon
occurrence and, just like commissioning an artist today, it seems that a
Renaissance patron could be delighted, surprised, perplexed, or downright
outraged at the finished work of art they had paid for.

Legacy of Renaissance Art: A Dawn of New

Perspectives
The Renaissance, an epoch of significant cultural revitalization, unfolded in
Europe during the 14th century. This age signified a dynamic shift from the
Middle Ages to the modern era, birthing a renewed fascination for classical
ideals, individualism, realism, and humanism. Renaissance art, a vital
component of this era, marked a transformative point in the historical trajectory
of artistic expression.
Artists of the Renaissance, including Leonardo da Vinci, Michelangelo, and
Raphael, championed this revolutionary shift. Their masterpieces, like the Mona
Lisa, the Sistine Chapel ceiling, and the School of Athens, respectively,
heralded the era's innovative spirit. They meticulously represented human
anatomy, employed perspective, and manipulated light and shadow in ways
never seen before.
Unlike their medieval predecessors, these artists did not restrict themselves to
religious themes. Instead, they courageously embraced secular subjects and
drew inspiration from ancient Greco-Roman mythology. This significant
diversification of themes represented an epochal shift in artistic focus,
illustrating the increasing interest in human experiences and emotions.
The techniques and ideals of Renaissance art laid a robust foundation for the
development of Western art. Its innovative use of perspective, detailed
representation of the human body, and diversified thematic scope were
groundbreaking, setting new artistic standards. These advances challenged the
prevalent norms, expanding the realm of what was deemed art and steering the
course of art history.
Moreover, Renaissance art played a critical role in bridging the ancient and
modern worlds. The artists' homage to classical ideals and their simultaneous
pursuit of innovation echoed the broader cultural patterns of the period. The
movement's profound influence is still visible today, illustrating its enduring
relevance.
In essence, Renaissance art was not merely a phase in the annals of art history;
it was a radical movement that redefined art's parameters. Its legacy remains
evident in our perception of art, emphasizing the value of individual creativity
and realism. This period served as the crucible for modern artistic expressions,
setting the stage for the evolution of art in the centuries that followed.