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

Patron-Artist Relations in the Renaissance   Ã‚  Ã‚  Ã‚  Ã‚  The subject of artist-patron relations has been a touchy one since the beginning of the phenomenon. Nowadays it does not take such great precedence, as the artist leans more 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 out a compromise as to what is acceptable and also respects the aims of the artist. The patron in this case generally has the last word, as demonstrated by Richard Serra’s â€Å"Tilted Arc† controversy in the mid-80s where the artist’s piece was actually removed from its site 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 name for themselves. At this time, artists still depended greatly on patronage for a living and fought to distinguish themselves from the guild system. They still succumbed to religious guidelines and subject matter which generally limited their exploration of more personal means of expression, but with the rise 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 leeway in commissions. Patrons and artists worked together, the patron outlining material, size, and general subject matter, but leaving aesthetic decisions concerning composition up to the best judgment of the artist--- the master--- himself.   Ã‚  Ã‚  Ã‚  Ã‚  Although there is evidence of a lord-servant type of relationship between the patron and artist in several documents--- Domenico Venenziano writes to a lead Florentine patron, speaking of his â€Å"low condition† and how â€Å"duty-bound† 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 patron’s â€Å"least servant† who wishes to obey his â€Å"master† ; Fra Filippo Lippi writes to Cosimo de’ Medici that he is â€Å"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