Discussion of the role of patrons in the Renaissance

There were two main systems of patronage in Renaissance Italy. A rich person could take an artist into his or her household and in return the artist would supply the patron artistic needs, or someone or some organisation could commission a single work from an artist and employ him until that work was finished client. If the commissioned work was particularly complicated the artist could be on the client payroll for years. Other ways for acquiring works of art are, choose work that had already been completed, or buy one from a previous owner. Patronage could be collective or individual. There are some famous examples of group patronage in Florence. For example, the wool guild was responsible for the Cathedral gave out many important commissions for religious works. Another kind of collective patron, was the religious confraternity, e.g. The commission of The Virgin of the Rocks by Leonardo. Leonardo, the oldest of the three major High Renaissance artists, worked for much of his career under court patronage. Other types of patronage are city states (e.g. Bronze David by Michelangelo), and prince from a state (Leonardo was court painter for the Duke of Milan for 17 years).

There are three main motives for the patronage of art - piety, prestige and pleasure. Art patronage was good public relations for rulers. It became firmly institutionalized in Florentine life. As Biagioli describes it, patronage was not an "option." It was the key to social status, and, in Florence, there was an absolute social hierarchy. A career and social mobility were impossible apart from being involved in a network of patronage relationships. Patronage is most commonly associated with artists and the arts in general. In the medieval times, most patronage came from the Church but the ruling classes, the kings, princes and nobles, made up a second group of patrons. These two systems of patronage continued during the Renaissance, along with the newer systems.

Once the patron had chosen an artist, it was usual for the two of them to draw up a formal contract, setting out the specifications in some detail. Conflicts between artists and patrons were generally about money but sometimes they argued over the work itself. In the Early Renaissance, the patron had had the upper hand in such arguments, but as the status of artists rose they became less willing to be dictated to in matters of art. Of course the more powerful patron was, the more he was able to impose his will on an artist. Sometimes it was agreed that the artist would accept advice from experts where necessary. As artists usually lacked a classical education, Humanist scholars would be called in to provide mythological and historical information. One of the defining characteristics of Florentine society throughout the centuries was a deeply-rooted system of patronage networks. A new type of patron emerged in Florence in the Quattrocento. The economic prosperity of the city meant that its merchants and bankers became wealthy too, and could afford to become patrons of the arts. This group of powerful families took over the government of Florence and wanted to show the world that their learning, piety and taste made them worthy of their high standing in society. One way to do this was to commission works of arts.

The leading Florentine family was the Medici. (The Medici spent money on constructing churches, encouraging art and supporting charities.) One of the Medici Popes, Leo X, was a notable patron of the arts in Rome.

The social standing of the patron also benefited from the arrangement. Sponsoring several clients indicated substantial wealth and an interest in the community. Especially accomplished clients brought to their patrons added prestige. In the academic hierarchy, the most prestigious patrons tended not to identify with clients from the "lower" disciplines (mathematics and the natural sciences).

Perhaps the best example of this patron-reputation linkage is Michelangelo, whose patron was the Pope himself (Julius II). By the time of his death, he had been practically raised to a level of divinity among Florentine artists.


LINKS:
Patronage of Michelangelo

Patronage of Raphael





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