The Status Of The Artist

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

Caravaggio’s demonstration of the power of art was using art as leverage to become a nonnoble in a chivalric order and to gain freedom for his crimes.

During the Middle Ages, the church commissioned most of the art being produced which limited the subject matter and censorship. Now, however, the Medici were the chief patrons using art as a political declaration rather than a religious idea. Commissioned by the Medici, Donatello’s David was the first free-standing nude sculpture completed since antiquity (Gilmore 83). The work symbolized the shift of the arts from the church to the political forum. As art and learning thrived, morals and grace declined in the eyes of the church. Many religious traditionalist viewed Florence as an evil and godless city. These fundamentalists eagerly waited for a great reformed to restore Florence to a religious city.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

In this essay I will be expressing the research of three different rulers throughout three different time periods based upon their most famous works of art. So I can get a wide range of information, I have picked the following rulers from different periods: Queen Nefertiti of Ancient Egypt, Edward IV from Medieval England and finally Elizabeth I from the English Renaissance. I will be comparing and contrasting each ruler and how each of them changed the face of history.

A post Middle Age Italy was afflicted by medieval wars and the bubonic plague. A change was needed to restore the vision of what Italy could become. This change was found within one family: the Medici’s, who helped to return the glory and influence to Florence. The Medici’s saw the value in contributing to the advancement of the greatest minds of the period. This was evident in their patronage of leading Artists such as Michelangelo and of renowned Teachers such as Galileo. The sphere of influence the Medici’s enjoyed also extended to the political arena, which happened to be heavily influenced by the Catholic Church at the time. The Medici’s were able to capitalize on the power of the Church and through this influence and the use of

The lords preferred having a good time to relax rather than having a piece of art been done in a complicate way. This lead to the point in which artists preferred to be ranked together with philosophers, because “painters preferred the intellectually elite status of poets and philosophers…” (pg. 28). Even though artists would have had a poor quality lifestyle, for them it was a lot better than been a buffone because a buffone was a career that lacked respect. The overall purpose of Warnke’s article is the explanation of the financial status that one could expect as a painter, singer and buffone, during the renaissance time. The author explains his thesis thoroughly, but the reader ends with more questions regarding the situation that performers would have. The struggle of having work and been paid not only for the need of money but for the social status as an artist. In this article, the point of view is that as an artist in the category of paint, doing something that was less time consuming would leave an individual with better life opportunities, rather than an artist doing complex frescos and putting their soul into

I'm sure artists can agree that art is not something written in stone, it is a matter that is always changing. Looking back at eighteenth century artist and comparing them to artists of today, there are many factors that have changed; from composition and color, to technique and even canvases. There are always trends in the design field. Personally, I don't believe that a single artist can have the responsibility of making a direct impact on the world of art; however, he/she can influence and impact his/her audience to go out and make a difference. So in an era where every individual is caught up and distracted with the media to be focused on world problems, the only real way to communicate with the world is through media, which is where illustration and entertainment come into play.

Masaccio was not named among the painters ‘who have been illustrious in our age’ in Fazio’s De viris illustribus. Nor was Masaccio included among ‘the best masters who have existed for a good while back’ in the list of artists by whom the Florentine merchant Giovanni Rucellai owned works in c. 1470. This omission, however, presumably reflected the difficulty of acquiring panel paintings by Masaccio, which inevitably have always been rare, rather than an opinion that Masaccio was not one of ‘the best masters’ (Ahl 158).

As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art

Throughout the vast history of art, historians can find connections throughout the centuries. Artists from the beginning of humankind have been inspired by the world around them. From the Apollo 11 stones to present day, history and culture have provided inspiration and have been the focus of various pieces. Examining artwork from the 15th-18th century, viewers can be shown a whole world that would be unknown to us without these artist’s contributions. History, religion, and cultural events have sculpted the art world, and we can observe this through many pieces during the 15th-18th centuries.

One of the key themes within the idea of Romanticism is ‘the artist’. Taking Lowy and Sayre’s definition of romanticism into account, this figure could be described as

A Portrait of the Artist as a Young Man is a complete work of art, complete in the sense that it gives such great insight to human nature and the people of the world. The title is essentially what this novel represents. The “coming of age” is represented like a portrait because it takes a long time, with many different attempts, to reach the final work of art. In even greater context, the protagonist experiences a series of epiphanies in which he gains insight into his own nature and into the people of the world. In the main characters “coming of age” there are crucial components that are lost and gained, which can be derived from his love of family, religion,

From the early Renaissance period to the later popular Romanticism style of expression, the Middle Ages to pre modern time saw many individual became some of the greatest artists of all time. But for artists before the modern era, life was dramatically different than it is now. Creative expression followed majorly a patronage style. That is, the work of art is commissioned by usually some persons of power. A patron would agree with the artists upon price, time to complete, subject of work, and other pre specified

The focus of this investigation will be “The Medici family supported the artists of the Renaissance era by providing them financial support, throughout mentorship and because of the prevailing philosophy and humanism.” This investigation will focus on the background of the Medici family and how they supported artists of the Renaissances era. This investigation will use a primary source from an artist's work and a secondary source relating to the Medici family uprising.San Lorenzo (church). Medici chapel. Tomb of Lorenzo de' Medici which held Sculptures by Michelangelo and Adrien, De Roover Raymond. The Rise and Decline of the Medici Bank, 1397-1494. Norton Library, 2012.Both sources provide background to the Renaissance time period and how the Medic family treated artists with their power. The two sources are examples of how the Medicis changed the renaissance era through their money and power to pursue artists for their own benefit and for the time periods.