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Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*

Published online by Cambridge University Press:  20 November 2018

Dennis Romano
Dennis Romano*
Affiliation:
Syracuse University
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Extract

Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.

Type
Studies
Information
Renaissance Quarterly , Volume 46 , Issue 4 , Winter 1993 , pp. 712 - 733
Copyright
Copyright © Renaissance Society of America 1993

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Footnotes

*

Research for this study was made possible by the generous assistance of the Gladys Krieble Delmas Foundation and the Syracuse University Senate Research Committee. An earlier version was presented in October 1991 at the Sixteenth Century Studies Conference in Philadelphia.

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