- What kinds of benefits and burdens do artists receive by being patronized? Why might someone prefer an open and free art market?
Most artists receive a high degree of prestige through their artworks. The effects of art on its audience is so profound that viewers, readers, listeners and virtually any recipient of the work could be moved and feel a deep sense of admiration for the author of such. It almost seems intrinsic that prestige and patronage to a certain artist will always be present. However, there are benefits and at the same time, burdens to being patronized. Among the benefits would be its effect in expanding a person’s scope of influence and therefore a better public reputation. The burdens of being patronized and recognized as an artist in their craft on the other hand would include constant pressure from the public and critiques received which could even be haters and not really patrons of artwork. Some artists might prefer to get involved in an open and free art market because such environment could be more conducive for new and often inexperienced talents to share their work and gain the attention of a bigger audience.
According to Gérard-Varet, “We consider here different questions about art objects as commodities, markets and prices, the returns to art, including comments on the comparison of prices of paintings and stock-market fluctuations.” (509). Thus, the view on art as a high-priced commodity is a hurdle that new and budding artists must be able to overcome.
- Why is the status of an artist important to a patron of the arts?
Many art patrons would often shell out huge expenses just to buy an original artwork. Many Renaissance painters and authors have artworks that are expensively priced. These people are willing to pay for any price just to own original pieces of artworks, perhaps because of art’s possible effects on an individual’s prestige and social status. Karttunen stated that an artist’s expression through art is invaluable (10). Many lovers of art would agree that owning priced pieces from the pillars or canons from a certain art era would help them connect with the past more. It is also a great way to pay homage to the contributions of great artists whose artistic imaginations will be forever immortalized through their work. In addition, being an owner of special artworks may also be seen as a symbol of wealth and nobility. Thus, developing a taste for art has been equated with enjoying the finer things in life and wealthy living.
- Why was philosophy and poetry important to artists and patrons in China and Renaissance Italy? How did the concept of the artist change over time?
Philosphy and poetry—the ones that flourished during the Renaissance Era, could be seen as two huge milestones in the history of art’s growth and development. During this era, many people were trying to reach back to the classics and rediscover philosophies, teachings and literary works from the past. These two areas are deemed as valuable sources of information from which an accurate history of art and other objects’ origins could be derived. Jones discussed how a return to an appreciation for poetry and philosophy fits perfectly with the Renaissance theme of going back to the past by recreating it and modifying its elements (172).
- What was going on at the time that may have perhaps influenced and allowed for these changes?
The Renaissance period was a fruitful and eventful era for art and art lovers, but it was never a time of peace and ease. Various difficulties were met in order for art, philosophy and poetry to prosper. According to Andrews, Askey and Ranjan, several milestones in history like the invention of paper have been instrumental in the boom of Renaissance artwork and its various forms (208). Even the shift of views into humanism had provided a great fodder for the development of many literature and visual arts of various forms. Indeed, the Renaissance era has provided a reawakening , rediscovery and renewed appreciation for the arts.
Andrews, G.E., Askey and R. Ranjan. "Story and space in renaissance art and the rebirth of continuous narrative." Ouvrage (1998): 208.
Gérard-Varet. "On pricing the priceless: Comments on the economics of the visual art market." European Economic Review (1995): 509 = 518.
Jones, R.O. "Renaissance Butterfly, Mannerist Flea: Tradition and Change in Renaissance Poetry." MLN Community Literature (1965): 166 - 184.
Karttunen, Sari. "How to identify artists." Poetics (1998): 1 - 19.