Patron-Artist Relations in the Renaissance The subject of artist-patron relations has been a touchy one since the beginning of the phenomenon. Nowadays it does not take such great precedence, as the artist leans more toward a personal, individual type of art typical of freelance. Serious commissions exist only in public art and architecture, where the needs and feelings of a large group are considered. Artist and patron must work out a compromise as to what is acceptable and also respects the aims of the artist. The patron in this case generally has the last word, as demonstrated by Richard Serra’s “Tilted Arc” controversy in the mid-80 s where the artist’s piece was actually removed from its site because of public objection. However, nowadays the artist is insured against such damages, which was not the case in the beginning of the Renaissance, when artists were just starting to make a name for themselves.
At this time, artists still depended greatly on patronage for a living and fought to distinguish themselves from the guild system. They still succumbed to religious guidelines and subject matter which generally limited their exploration of more personal means of expression, but with the rise of secular art collectors such as the Medici, we see a more modern artist-patron relationship emerging. By so distinguishing themselves in their field, patrons gave them certain leeway in commissions. Patrons and artists worked together, the patron outlining material, size, and general subject matter, but leaving aesthetic decisions concerning composition up to the best judgment of the artist — – the master — – himself. Although there is evidence of a lord-servant type of relationship between the patron and artist in several documents — – Domenico Venenziano writes to a lead Florentine patron, speaking of his “low condition” and how “duty-bound” he is to the patron; Matteo de’ Pasti writes to his patron about specific details concerning the subject matter of a work, referring to himself as the patron’s “least servant” who wishes to obey his “master”; Fra Filippo Lippi writes to Cosimo de’ Medici that he is “here entirely to be a slave to you” — – one must remember that Italy was still working out final kinks in a new middle-class-minded capitalist system, and dredges of the medieval system of feudalism still influenced aristocratic patrons. The artist could be building up trust and good relations so that he may be referred to other commissions and thus make a name for himself: Venenziano was slyly using diplomacy in order to gain a coveted commission, says Gilbert; De’ Pasti wanted to verify his content, not technical details, so as to have a successful commission and be paid well; Lippi was asking for money and proceeds to specify what for.
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Sandro Botticelli, born Alessandro Mariano Filipepi, was the son of a tanner. He was born in Florence around 1445 and showed a talent for painting at a very early age. Botticelli was first apprenticed under a goldsmith named Sandro, from whom it is believed he derived his nickname. At the age of sixteen, he served an apprenticeship with the painter Fra Filippo Lippi (Durant, 1953). From Lippi he ...
In fact, we actually see the painter Coss a standing up for himself to his patron (who generally paid by the square foot) as a more learned artist with a name, and thus deserving of more pay. It seems as though many patrons grew increasingly aware of artists’ aesthetic mastery, and few documents exist where detailed instructions were given. A contract between Master Martino and his patron (s) is an exceptional case, where the artist was instructed to finish a vault mural in the same “workmanship, manner, and form” as “the other four vaults in the chapel” which were done by a previous artist. This served to preserve the continuity and consistency of the style of the murals.
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Another exceptional case involves the German patrons of Matteo Giovanni, who requested specific imagery according to their tradition and cultural tastes, expounding on specific proportions based on another altarpiece. However, they trusted him to use the “judgment” of any “good master” as to how compositional elements would be arranged and colored. The third exceptional case involves a very personal gift, that of a belt buckle commissioned by Marco Perenti for Filippo Strozzi, for which the symbolism was very complex and thus designed by Perenti himself. Gilbert suggests that this consistent lack of instruction in most commission contracts alludes to the fact that artists, having repeatedly painted similar religious subjects, were considered masters of the imagery. In a 1461 document that he mentions, the artist Benozzo Gozzoli was instructed to simply paint the specified saints “in their usual costume” or “with all their standard decorations.” In many cases, we actually see the artists themselves specifying such things as materials, and even giving aesthetic advice to their patrons on how to improve specifications. Pierre de’ Medici is denied the change he requested in a commission by Benozzo Gozzoli, who retorted that the element in question “was nothing to make a fuss over.” The Master Andrea Mantegna chides his patron for hurrying him with a rather far-fetched request that he paint from life a subject that was not present.
Giancristoforo Romano gives detailed instructions to his patron concerning a marble purchase for his commission, requesting a “man who understands the nature of these marbles” to make the purchase. Antonio Del Pollaiuolo suggests to his patron that he consider a grand equestrian portrait instead of a simple bust, claiming that he would make the man “immortal.” This pride in their artistic skill is felt by the artists’ patrons. We see several instances where the patron actually concedes to the will of the artist. In a case where a sculpture by Donatello was rejected, the patron (s) actually proceeds to give him some money for his troubles, an action which Gilbert suggests might have been to appease any possible problems the artist might bring up. In a series of letters between the Duchess of Milan and the Marquis of Mantua, the Marquis mentions difficulties in working with Mantegna, saying “these masters have something of the fanciful about them, and it is best to take from them what one can get.” In 1505, when Isabella d’Este wanted a work by Giovanni Bellini, she was advised against “very specific terms.” She specified the theme, but left the “poetic invention” up to Giovanni. Thus we see a mutual respect becoming evident in artist-patron relations of the Renaissance.
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Some well-known artists of the time, such as Mantegna, enjoyed courtly appointment and rubbed elbows with some of the most elite members of society, painting their portraits, discussing private collections of art, and even being included in those collections. Some might argue that artists gained fame by copying the styles that preceded them in tradition, but there is increasing evidence of personal involvement and style: Mantegna’s hand was recognized among many in a fresco cycle in a church of Padua. The artist-author Leon Battista Alberti emphasized drawing from nature, and not simply copying previous models. He expounds that the painter is like a god, wielding a “divine power” that comes only through the constant study of the world about him.
Patrons recognized this divine power in the Renaissance artists, and thereby gave them the relative aesthetic freedom that they deserved. Bibliography Gilbert, Creighton E. Italian Art: 1400-1500. Evanston, Illinois: Northwestern University Press, 1980. Richard Serra’s Tilted Arc 1981 [on-line article] Accessed 9 October 2004; available from web a. html; Internet..
