A 15 TH CENTURY PAINTING IS A DEPOSIT OF A social relationship IS THIS TRUE OF ALL WORKS OF ART PATRONAGE 15 th century artists commissioned by the elites to paint chapels etc (e. g. St. Peters chapel) usually given specific subject, although given free reign occasionally. Some paid per figure on the canvas. Implication: art influenced by patrons desire, needs, wealth, status as well as the artists talents and creativity Thus see the art work as a deposit of the social relationship between artist and patron.
GOVERNMENT PATRONAGE This form of patronage not necessarily financially based relationship. In Russia, Germany, lesser extent Italy, during WWII artists heavily commissioned, but independent artists whose work digressed from regime needs / desires / ideology were imprisoned, exiled or killed More explicit way of patronage Nazis created a dual exhibition of art work one full of degenerate art associated with Jews, homosexuals etc. Images of Jews and infiltrated by real pictures of deformity other gallery imperial, Nazi ideal art. Blatant yet extremely powerful for the public and especially the artists. In Italy an art competition was won by the inspiring ly titled Listening to a speech by Il Duce on the Radio (not included on handout) Cultural revolutions way of cleansing enemies at home again highlights power of art Example: sculptor George Kolbe 1930 picture: mobility, dynamism to balance to pose and stability reflecting Nazi preoccupation pure human form.
The Essay on Contemporary Art Artists Works Neo
contemporary art, the art of the late 20 th cent. and early 21 st cent. , both an outgrowth and a rejection of modern art. As the force and vigor of abstract expressionism diminished, new artistic movements and styles arose during the 1960 s and 70 s to challenge and displace modernism in painting, sculpture, and other media. Improvisational and Dada-like styles employed in the early 1960 s and ...
Intended as a juxtaposition against degenerate art art of Jews, the weak. The art hated by the working class and conservative bourgeoisie. Above sculptures do not reflect a social relationship; rather change in style reflects the social relationship between artist and patron (government).
The relationship is one of subservience and rule over creativity.
Nazis use degenerate art to channel aggression from troubles of real situation (great depression, economic dislocation) toward individuals and groups perceived as agents of political and social evils enemy not art itself but human being that it seemed to embody. Aesthetic backing to unequivocally value based judgments. We see art as influencing social relationships more explicit form is Stalin portraits. Both portraits show Stalin with Lenin in the background. Early on in career Stalin trying to be seen as the inheritor of Lenin’s legacy. Socialist realism continual bombardment of images of workers, normal people clearly ideological and based on desired social relationships deposits and reflection of social relationships.
AUTONOMOUS ART PHILOSOPHY Rousseau: The sciences, letters and arts wind garlands of flowers around the iron chains that bind (the people) and stifle in them the feeling of that original liberty for which they seemed to have been born – makes them love their slavery and turn them into what are called civilized people Rousseau art under despotism reflected and reinforced immoral power of the state Implies need for autonomous art link to Willi Bau meister art has progressed along the path from dependence to independence, from the commission which is given to personal responsibility. The free autonomous artist receives his commission from himself So, does autonomous art show a social relationship Not a traditional concept of patronage, what about the market, and can it be said that a painting without enforced patronage highlights a lack of Nazi or Soviet type social relationship CONCLUSIONS Patronage: enforced, financial, government based social relationship pressurizing artist into his works does not lessen value of the art, but must be seen from different perspective Reinforcement of power of the image Autonomous art free of a deposit of a social relationship but is this possible.
The Essay on Art History American Iron Artists
World War I virtually severed artistic relations between America and Europe. Cultural interchange and patronage was interrupted by problems of social and political urgency, though most artists tended to be antiwar. Visual propaganda was left to the commercial designers and illustrators, while American painters continued in their efforts to consolidate the issues detonated by the Armory show. ...
