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From the ancient world onward, patronage of the arts was important in art history.It is known in greatest detail in reference to medieval and Renaissance Europe, though patronage can also be traced in feudal Japan, the traditional Southeast Asian kingdoms, and elsewhere—art patronage tended to arise wherever a royal or imperial system and an aristocracy dominated a society and controlled a ...
At the same time, as art historian Alexandra Zvereva suggests, Catherine became one of the great art collectors of the Renaissance. [3] Although Catherine spent ruinous sums on the arts, the majority of her patronage had no lasting effect. The end of the Valois dynasty shortly after her death brought a change in priorities.
Many argue that Julius was using art to further extend his own Papacy, as well as the role of Popes to come. Julius II’s Papacy is frequently criticized, for it is a common conception that he was keen for glory, which is reflective in his nickname, "The Warrior Pope" (Gosman, 50).
This form of patronage contributed to the new role created by Augustus as sole ruler after the collapse of the Republic, when he cultivated an image as the patron of the Empire as a whole. Various professional and other corporations, such as collegia and sodalitates , awarded statutory titles such as patronus or pater patratus to benefactors.
By the mid-19th-century painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. The idea "art for art's sake" began to find expression in the work of painters like Francisco de Goya, John Constable, and J.M.W. Turner.
Venus de Milo, at the Louvre. Art history is, briefly, the history of art—or the study of a specific type of objects created in the past. [1]Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes ...
Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role.
Religious patronage and royal propaganda in Angevin Naples: Santa Maria Donna Regina in context. In Elliott and Warr, The Church of Santa Maria Donna Regina, 27-44. Paoletti, John T., and Gary M. Radke. Art in Renaissance Italy. 3rd ed. London: Laurence King Publishing, 2005. Schaus, Margaret, ed. Women and Gender in Medieval Europe: An ...