What Did the Renaissance Patron Buy
Bibliographic Data
| ID | 10420403 |
|---|---|
| Authors | Creighton E Gilbert, Creighton Gilbert (Yale University, corresponding author) |
| Year | 1998 |
| Volume | 51 |
| Issue | 2 |
| Pages | 392-450 |
| Publication date | 1998-07-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Renaissance Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0034-4338 • E-ISSN: 1935-0236 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.2307/2901572 |
| OpenAlex | W2006593626 |
| Language | EN |
| Citations received | 7 |
| References cited | 18 |
This paper is generated by the widespread opinion that Renaissance patrons usually kept creative control over works they commissioned. It analyzes two of the few instances usually cited and adds many more, some involving single works and some implicating a wide spectrum. A considerable range emerges. At one end artists, not only famous ones, can be deferred to as better experts on how themes are shown. At the other, patrons retain tight control of such unique themes as their family histories. A conclusion speculates on possible reasons for the strength of this opinion, in view of its fairly limited basis
Advertising · Art · Art history · Business · Control (management · The Renaissance · Visual arts · Art History and Market Analysis · Artificial Intelligence · Computer Science · Historical Art and Architecture Studies · History · Renaissance and Early Modern Studies
Caravaggio and His Two Cardinals
On Pleasure. De voluptate
The Program for the Sassetta Altarpiece in the Church of S. Francesco in Borgo S. Sepolcro
Kölner Renaissancekultur im Spiegel der Aufzeichnungen des Hermann Weinsberg (1518-1597)
Venice
The Rise and Decline of the Medici Bank, 1397-1494
Aesthetics and History
Patrons and Artists in the Italian Renaissance
| Citations per year | 0.28 |
|---|---|
| Citation span | 2001 - 2022 (22) |
| Highly cited | No |