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Patronage and the Social and Cultural Status of the Artist

11 important questions on Patronage and the Social and Cultural Status of the Artist

Why would someone decide to become a patron?

1. Privately for pleasure, commemoration, investment or prestige.
2. Group patronage for power, corporate identity, commemoration, status, devotion or nationalism.
3. Church patronage for the glory of God, private devotion, didacticism (morals), power or status.
4. Monarchy/state patronage for national status, dynasty building, propaganda or commemoration.

Who were the chief patrons during the Classical and the Medieval era?

The state in the Classical era, the Church in the Medieval era.

How can the status of art and its artist in society be assessed?

1. How much autonomy the artist has.
2. How much education or training the artist has had.
3. How well the artist is rewarded economically.
4. What the social status of artists is.
5. How much influence the art is/where it is displayed.

How can we determine the personal success of an artist?

1. How much critical renown they receive/if they are taught at schools as 'canon'.
2. If the artist has achieved wealth through his work.
3. How well known the artist is to the general public.

How were artists treated during the Classical and Medieval era?

As low labourers who worked with their hands. They were of low status and their art was valued because of how expensive its materials were, not because of the artists' skills.

Do artists need a patron's support in order to achieve status and success?

They used to, many centuries ago, but starting in the nineteenth century (when Vincent van Gogh lived on the money his brother made for him by selling his art), it was no longer necessary. After all, these dealings made him posthumously famous.
However, the contemporary Saatchi artists do seem to need patronal support.

Who commissioned Jacques-Louis David's The Death of Marat and why?

It was basically commissioned by the Jacobins, led by Robbespiere, who led the French Revolution starting in 1789 and of whom David was a member. He felt obliged to avenge the journalist Marat who had written articles for their cause and had been killed for that reason. The painting was very political and propagandistic and also very idealised.

Why is George Stubb's Whistlejacket such an interesting painting?

Because it's basically a portrait of a very beloved horse, which also functions as a testament to the wealth of the elite and to the patron's (the horse's owner) successes. The horse looks like a champion.

Who is Charles Saatchi?

A gallery owner and collector who can be considered the symbol of private enterprise and commerce as opposed to state patronage. He made many artists famous by purchasing their patronless art.

Who is Damien Hirst?

An artist and curator who used to work together with Charles Saatchi until their partnership ended. They were like Michelangelo and Pope Julius II, both self-promoting, but then Hirst ended up with dealer Jay Jopling. The three of them were called the Holy Trinity.

Does patronage exist in architecture?

Yes, and it most likely could not function without. After all, architects design their buildings for others who commission them first, whether privately or publicly.

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The question on the page originate from the summary of the following study material:

Thinking About Art A Thematic Guide to Art History | 9781118905166 | Penny Huntsman

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