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Khrystyne Wilson

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Today's readings in Renaissance Art provided a good introduction into how one studies the Art Market, by focusing on the beginnings of the Art Market during the Italian Renaissance. The authors convincingly explained the Art Market in contemporary economic terms, for example: applying the game theory to the artists and patrons participating in the art market at this time. I found their examples extremely helpful, and through their demonstrations, it is clear what to look for when examining art that may be helpful in determining their value through the art market. For example, in Italian Renaissance art, we can clearly determine the motive of the Patron through what he/she is exhibited doing, i.e. praying, reading etc or wearing: i.e. furs, jewelry. The use of the game theory to explain the art market in the Italian Renaissance was quite informative. I found this analogy to be the most convincing. In the Italian Renaissance, there were the players, i.e. the patrons, artists, and intended audience, and the principal players, the patrons and artists, would either rise, or decline in society based on the art they either commissioned or created. Overall this reading was very interesting, and I can see how the methods in which the authors examined the Italian Renaissance art market, will prove useful in all locations and eras up into the modern art market.

1)    The patrons of the Art market in the Italian Renaissance were those who paid for the art. These could be private patrons, who were individuals commissioning work for themselves, their family, guild or brotherhood, or corporate patrons, such as religious groups, governments, and also brotherhoods. The private patrons were often merchants, aristocrats and rulers. Private and corporate patrons sometimes overlapped, as in a brotherhood could be either a private or a corporate patron. Mostly, private patrons were individuals within these corporations, which often encompassed those who could and could not afford to become private patrons. These patrons would commission artwork with a audience in mind, thus they commissioned work that would benefit them in some way, either to their immediate audience, future audience or heavenly audience. Because of this, the patrons would commission work to represent the family, brotherhood, guild or corporation. Patrons were in charge of choosing the kind of art (painting, sculpture, relief etc), its purpose, and other details, thus they played a significant role in the commissioning game.

2)    Both the artist and patrons could either be benefited or harmed by the commissioning game, due to the outcome of their commissioned or created art. The audience played a large role in deciding whether a piece of art was worth its cost, by their reaction to the artwork. By choosing what was included in an artwork, a patron can decide what he/she wants to portray to the audience, and through the artists work, this portrayal could either be achieved or not. Through commissioning a piece of art, the patron could show himself as elevated in status, or pious in nature, strong, victorious, etc. etc. Thus, one had to weigh the cost financially with the social benefits one might gain by having a well-known artist create a portrait of him or her looking financially secure. Another cost of commissioning a work of art was the potential that the artwork would be received negatively. This could occur if the patron, or artist, reached too far beyond their current position and portrayed themselves as higher above their status, political connections, or finances. Patrons were hardly ever financially compensated for these pieces of art, thus the benefits were never financial, but rather were social through their demonstration within the work of art of wealth, power and political connections.

3)    There were many incentives for the Patron to commission a work of art. By having a certain caliber of art, or a personal piece of art made by a well-known artist, patrons could distinguish themselves as above the norm. For private patrons, this means they could distinguish themselves as financially, or socially above the general population. This was especially true in some regions of Italy, such as Florence, where social strata were not as rigidly enforced, and there was potential for social mobility. Thus, by possessing a piece of art that demonstrated power, or wealth, one could potentially elevate them within the social world. For corporate patrons, such as a religious group, they could distinguish themselves as above the general populace in their piety and regard for religious figures and events.

4)    Three of the most important avenues for expenditures and conspicuous consumption were paintings/portraits, architecture and chapel/tomb decoration. Other avenues were through clothing, banquets and parties, sculpture, frescos, and reliefs. All of these avenues could portray a desired quality, such as wealth and status in portraits, power in reliefs or frescos describing battles, and piety within chapel or tomb decorations.

5)    Signaling was a patron's way of demonstrating the desired attribute through a piece of artwork. The quality of the work, along with the portrayal as wealthy, high in status, and pious could all be determined by signaling to demonstrate an overall portrayal of the characteristics the patron wanted to impress upon his audience. For example, to signal wealth within a painting, one might be wearing certain clothing, or jewelry, or be positioned in front of impressive architecture. Another example of signaling is when a patron wants to be portrayed as pious the could be shown in a painting as reading a piece of religious work, or praying.

The term sign-posting describes specific signaling in order to show specific information about the patron, but omit other information. One example of this would be in political art demonstrating a war, the patron could exhibit how they won a specific battle, but could omit the fact that they lost the war.

Stretching is exhibited through a patron's desire to increase his social, or financial appearance, however he/she exaggerates or misrepresents their real status. An example of this is when a baker created a magnificent tomb for himself, however it was looked down upon because he had over-extended his social status as a baker.

6)    Audiences were primarily put into one of three categories: the contemporary audience, the future audience, and the heavenly audience. The contemporary audience consisted of the people that the patron would like to immediately impress upon. Examples would be, nobles, elites, political figures, other artists etc etc. The patron could also want to impress the future audience, and example of this was when political leaders would commission works of art to be made regarding wars or battles won, in order to preserve the power and prestige of a specific ruler or country, for future generations. The last group is the heavenly audience. Many patrons, specifically when designing chapel/tomb decorations would be commissioned with the aim to impress God or his messengers with the patrons' piety.

7)    In the Renaissance period, it was important for patrons to demonstrate their "magnificence" whether it be their individual or family magnificence, the magnificence of their position, or their corporation's magnificence. This magnificence would not only serve to demonstrate the individual strength and power of a person, family or corporation, but also that of the community that it is encompassed within. The magnificence was often compared with the other patrons of the time, and thus one had to portray maximum greatness in order to distinguish oneself from the crowd. Architecture, clothing, banquets and receptions could all be used to signal grandeur, thus demonstrating the magnificence of the patron. By using signaling to set one apart from the general populace, one could achieve this goal of becoming magnificent.

 
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