Page History

Elena Cestero

The introduction and first three chapters of, The Patron's Payoff, written and edited by Jonathan K. Nelson and Richard J. Zeckhauser are an enlightening study of the art market in Renaissance Italy.  The authors successfully employ economic frameworks and theories in combination with art history to describe the system and culture of art commissions at that time.  The use of the economics of information and game theory are quite adequate in explaining the "agent and principal" relationships and negotiations between artists, patrons, and audiences in the commissioning of art.

The principal/patron provides the funding and defines the project while the agent/artist fulfills the request and receives payment, and both must seriously consider the reaction of the audience who will view the work.  Whether the patron is corporate (religious order, city government, brotherhood) or private (aristocrat, merchant, ruler, humanist, artist) the considerations are much the same and there are many times when there is an overlap between the two as private individuals may represent themselves, and in addition, a group or social or cultural traditions.  The goals or incentives of different patrons are essentially the same, as they all seek to advertise or increase their status, reputation, or honor.

The benefits of a commission must outweigh the costs for the patron to receive a payoff.  The elevation in long lasting status and distinction must be greater than the financial cost (which is higher for the materials than the labor), social cost (risk of a negative audience reception), and work within the constraints of budget, space/location, availability of artists, and decorum.  The avenues for expenditures and "conspicuous commissions" were many and included portraits, frescoes, altarpieces, tombs (i.e.: the Alberti and Medici families), chapels (i.e.: Cardinal Carafa), and sculptures all of which endure for extended periods of time.  There were other avenues such as gardens, processions, and dress but these were less effective due to their transient nature. 

Signaling, stretching, and sign-posting were important elements of the communication strategy of commissions and were employed in an effort to ensure a worthwhile payoff.  Signaling provided indications of quality though conveyed wealth, status, and piety.  Stretching exaggerated the important qualities of a patron so as to convey them favorably (i.e.: Francesco Gonzaga), while sign-posting employed selectivity in presenting or omitting certain information regarding the patron (i.e.: Leone Leoni).   The difference between sign-posting and signaling lies in the element of selectivity.

The intended audience of a commission depended on the patron and location of the work but the contemporary, future, and heavenly audiences were carefully considered.  A commission could be used to communicate with other elites, women, or various other contemporary audiences.  The future audience was one that the patron wished to inspire with the work and in so doing preserve their memory and reputation in the long-term.  The heavenly audience was considered especially in the commissioning of religious works and was seen as a way for the patron to express devotion to God or Saints and as a result gain advantage in the afterlife.

An interesting concept discussed in Chapter 3 is that of magnificence. What makes magnificence significant is that it is not simply determined by the expenditure of money but also how the money is used and how the work is beheld by the audience.  The money must be spent virtuously on a public work for the common good. The work must be characterized by discriminating taste and "dignity not overdone" in order to signal the distinction of the patron and thus be considered magnificence. Commissioning buildings was an especially effective way of signaling magnificence, or "status through taste or discernment".

Overall, the reading provides a fascinating insight into art commissions in Renaissance Italy but perhaps more fascinating is the parallel that can be drawn with contemporary society.  Signaling, stretching, sign-posting and even displays of magnificence are witnessed regularly today through the uses and displays of degrees, jobs, cars, clothing, houses, philanthropy, and of course art.