A Patron's Role in Renaissance Art
A patron is an individual or organization that is requested, paid for, and had an interest in forms of art such as paintings. In historic art, a patron requested for a particular work of art based on their specifications and the artist had to agree to produce wonderful works. The objective was to provide desirable works to patrons to get extra requests. In particular, the sculpture, drawing or painting was required to bespeak. As such, the reality that artistry was commercial, the involvement of patrons paid a pivotal function in the emergence and development of artworks. That is because monetary incentives allowed artists to create unique works that marked the creation of Renaissance art. With that in mind, the Renaissance was an important period in the middle ages which was marked by the revival of interests in classical learning and values from Rome and Greece.
The Development of Renaissance Art with the Help of Patrons
The increasing development of Renaissance art saw the development of art technologies, for instance, in printing and music (Charles 21). Such followed the need for patrons to have unique art pieces. Therefore, a lot of finances were channeled for such developments in the bid to enhance the quality of artistic production. In that way, artists were motivated to improve their products to meet the needs of their patrons. Another vital role of patrons in the Renaissance is the appointment of artists in their organizations and families. That was crucial in supplying them with all the right tools for their artworks (Charles 22). Moreover, this move ensured that artists got moral support in appreciation for the production of different artworks for their bosses, the patrons. As such, Renaissance art developed over the years. Most importantly, competition between patrons furthered the uniqueness and popularity of Renaissance art.
Northern Renaissance
The term northern Renaissance entails the development of art that occurred in Europe but outside Italy. In particular, the main areas that were affected include the Netherlands, France, and Germany where these countries became known as the Northern (Hickson 9). The development of artworks in this region took place from 1430 to 1580. Just like in Italy, the patrons from the Northern countries influenced the Renaissance. One of such individuals is Van Eyke from the House of Burgundy. This patron was involved in impacting influence in the gothic art which was more influential in Northern Renaissance compared to Italy (Hickson 5). With that, a lot of artists had the chance to absorb ideas to use in creating masterpieces. Robert Campin is another patron who played a key role in the development of manuscripts. Just like Van Eyke, Robin was involved in the translation of manuscripts to books for the wealthy folks.
Italian Renaissance
In ancient art, the Italian Renaissance represented the evolvement of classical ideologies in philosophy, artworks, and literature. It is a time in the history of Western art where artistic development stretched from naturalism in the 13th century to mannerism at the start of the 16th century (Christian & David 12). The influence of the Italian Renaissance quickly spread in Europe, giving rise to scientific and cultural ideas. One of the influential patrons was Ludovico Gonzaga from the Gonzaga family. He is remembered for his interest in illusionist art to which he dedicated his time and efforts for about ten years. Similarly, Borso d'Este is another Renaissance prince who was renowned for his luxury and refinement (Christian & David 15). As a patron, he championed for perfection and worked with some of the great painters such as Francesco del Cossa. One of the unique identifiers of Borso's patronage was perfect and magnificent artworks.
Discussion of Baxandall's Article
Michael Baxandall's primer on the history of pictorial style in art is a significant contribution to Renaissance studies. He did not develop a methodological approach but rather applied an aetiological style (Baxandall 10). In particular, he argues that now is the opportune time for art enthusiasts to reassess the painting methodologies as enough time has elapsed for everyone to criticize the historical perspectives of art. Also, he elicited the urge to appreciate paintings and experience. In that way, everyone's thoughts on Renaissance art should be welcomed as opposed to criticism. Critics have applauded Michael for providing valuable input on Renaissance art (Baxandall 11). Such results from the fact that Baxandall's review elicits curiosity and enhances people's observation of Renaissance art. In that way, art that now bellows in archives is shown to people.
Most importantly, Michael's reviews on paintings and experience played a key role in pronouncing artistic expressions. Moreover, trigger the curiosity to know the kind of creative needs that patrons in Renaissance art had. In that way, attention is focused on tact and artistic skills rather than the flaws of artists. A lot of focus on Michael's review in the artistic oeuvre as opposed to criticism (Baxandall 15). Therefore, in the bid to express appreciation for Renaissance art, it is imperative to have openness. He identified that art is an integral product of non-artistic processes and habits. As such, it is highly likely that the Renaissance artists reflected social actions in their works. However, in some cases, their imagination extended their linear perspective of society.
Works Cited
Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford [u.a.: Oxford University Press, 2011. Print.
Bohn, Babette, and James M. Saslow. A Companion to Renaissance and Baroque Art. 2013. Print.
Charles, Victoria. The Influence of Patrons in Renaissance Art. Parkstone International, 2014. Print.
Christian, Kathleen, and David Drogin. Patronage and Italian Renaissance Sculpture. Surrey, UK, England: Ashgate, 2010. Print.
Hickson, Sally. Women, Art and Architectural Patronage in Renaissance Mantua: Matrons, Mystics, and Monasteries. Farnham, Surrey, England: Ashgate, 2012. Print.
