A difficulty - which seems generally understood but, regrettably, little articulated - is the uniqueness of each work of art, unlike a bolt of cloth, so that with each commission the two persons concerned address a new problem. This most often makes the patron the more interesting figure, as one sees in the greater intensity of analysis of his part. More commonly, the work is viewed as a product of two energies in which the artist articulates, by rendering shapes, the message assigned by the patron. It is part of the social history of art, which in a pure form (probably never actuated) might treat the object of art as an item of production and exchange, much as wool textiles might be treated in the case of Florentine merchants.
Berenson is an interesting advocate for this approach because his own work is very different. A 1994 issue of a journal devoted to it cites recent conferences on the subject in Washington, Melbourne, and Hamburg.(2) It postulates that the reasons for the subjects of works of art are clarified when we have detailed knowledge of a patron's interests. Patronage study is an active subcategory of current work in art history. The artist could be creative and personal to the extent of his natural and acquired capacity, but always within the conditions imposed by the person who gave the order. gave his orders as he would to a carpenter, tailor or shoemaker. the absurdity so current in romantic art history, of taking it for granted that it was the painter or sculptor who was responsible for the subject matter of the work. APA style: What did the Renaissance patron buy?.What did the Renaissance patron buy?." Retrieved from 1998 Renaissance Society of America 18 Dec.
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