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Women, Art, and Patronage from Henry III to Edward III
Women as patrons of the arts: their social status, the sources of their wealth and their motives, together with an examination of the various artefacts which they commissioned.
Patronage of British Art
In the autumn of 1846 a correspondence was opened in 'The Times' on the subject of the cleaning and restoration of the national pictures. The Keeper of the Gallery, Mr. Charles Eastlake, was accused of restoring good pictures and purchasing bad ones. The attack was led by the picture-dealer and former artist, Mr. Morris Moore, writing first under the pseudonym of "Verax" and later his own name.--Cf. Ruskin.
The Age of Patronage
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Art, Patronage, and Nepotism in Early Modern Rome
Drawing on rich archival research and focusing on works by leading artists including Guido Reni and Gian Lorenzo Bernini, Karen J. Lloyd demonstrates that cardinal nephews in seventeenth-century Rome – those nephews who were raised to the cardinalate as princes of the Church – used the arts to cultivate more than splendid social status. Through politically savvy frescos and emotionally evocative displays of paintings, sculptures, and curiosities, cardinal nephews aimed to define nepotism as good Catholic rule. Their commissions took advantage of their unique position close to the pope, embedding the defense of their role into the physical fabric of authority, from the storied vaults of the Vatican Palace to the sensuous garden villas that fused business and pleasure in the Eternal City. This book uncovers how cardinal nephews crafted a seductively potent dialogue on the nature of power, fuelling the development of innovative visual forms that championed themselves as the indispensable heart of papal politics. The book will be of interest to scholars working in art history, early modern studies, religious history, and political history.
Artists and Patrons in Post-war Britain
This title was first published in 2001. An examination of art and patronage in Britain during the post-war years. It consists of five case studies, initially written as MA theses, that closely investigate aspects of the mechanisms of patronage outside the state institutions, while indicating structural links within it. The writers have sought to elucidate the relationship between patronage, the production of art and its dissemination. Without seeking to provide an inclusive account of patronage or art production in the early post-war years, their disparate and highly selective papers set up models for the structure of patronage under specific historical conditions. They assume an understanding that works of art are embedded in their social contexts, are products of the conditions under which they were produced, and that these contexts and conditions are complex, fluid and imbricated in one another.
Princes and Artists
"The relationship between artists and their patrons has always been a complex and fascinating one. In the case of the Habsburg rules of the sixteenth and seventh centuries, this is especially true, not only because those rulers are themselves of intrinsic interest, but because the artists whom they encouraged or employed - Durer, Titian, El Grego, Rubens - were among the greatest of all times. In Princes and Artists Professor Trevor-Roper explores the relationship between art and patronage through the careers of the Emperor Charles V (1500-58), his son Philip II of Spain (1527-98), the Emperor Rudolf II (1552-1612) and 'the arch-dukes" - Albert and Isabella - who ruled the southern Netherlan...
Paying the Piper
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Portraiture, Dynasty and Power
Introduction. Portraiture, space and concepts of the dynastic family -- Sociable collecting : Caroline of Ansbach, gregarious consort and erudite connoisseur -- Hanoverian courtly patronage in mid-eighteenth -century Britain -- Alternative court culture : the artistic patronage of Frederick, Prince of Wales, and Augusta, Princess of Wales -- Artistic patronage and dynastic alliances : Britain and Hesse Cassel -- The royal image and the British country house.
The Court Art of Friedrich Sustris
Shedding new light on the relatively unknown art of the Wittelsbach dukes's sixteenth-century court, The Court Art of Friedrich Sustris represents the first monograph to focus on this Italian-trained Netherlandish artist. The volume incorporates original archival material, including letters and payment records into the analysis of Sustris's many projects that ranged from large fresco cycles to intimate luxury and devotional objects. Duke Wilhelm V of Bavaria transformed Munich into a vital cultural crossroads between northern Europe and Italy. As Wilhelm's court artist and artistic director, Friedrich Sustris created a unified vision that broadcast Bavarian magnificence to princely courts across Europe. Although much of Sustris's work is lost, the remaining body of his drawings provides a unique window onto the reception of drawings by early modern elites within the context of their collecting practices.
Patronage, Art, and Society in Renaissance Italy
Patronage, in its broadest sense, has been established as one of the dominant social processes of pre-industrial Europe and has more recently been examined by historians as a comprehensive system of patron-client structures which permeated society and social relations. Focusing specifically on the city of Florence, these essays explore the new understanding of Renaissance Italy as a 'patronage society.'
