What is the role of the arts in American culture? Is art an essential element? If so, how should we support it? Today, as in the past, artists need the funding, approval, and friendship of patrons whether they are individuals, corporations, governments, or nonprofit foundations. But as Patronizing the Arts shows, these relationships can be problematic, leaving artists "patronized"--both supported with funds and personal interest, while being condescended to for vocations misperceived as play rather than serious work. In this provocative book, Marjorie Garber looks at the history of patronage, explains how patronage has elevated and damaged the arts in modern culture, and argues for the university as a serious patron of the arts. With clarity and wit, Garber supports rethinking prejudices that oppose art's role in higher education, rejects assumptions of inequality between the sciences and humanities, and points to similarities between the making of fine art and the making of good science. She examines issues of artistic and monetary value, and transactions between high and popular culture. She even asks how college sports could provide a new way of thinking about arts funding. Using vivid anecdotes and telling details, Garber calls passionately for an increased attention to the arts, not just through government and private support, but as a core aspect of higher education. Compulsively readable, Patronizing the Arts challenges all who value the survival of artistic creation both in the present and future.

R1000 stood before the two people. "Farewell, my human friends." The robot lifted its head, looking past them, in the direction where cattle grazed and wheat grew on the former battlefields, where the plague wards now had empty beds. "You no longer need my help. Your future is yours to choose." They never saw R1000 again. Zachary stepped back from the keyboard. The ending he'd just written echoed in his head. Destinies: Man and Machine. His best sci fi novel yet. Thank God for Paytron. Not a scramble for nickels and dimes from a thousand fans, like that other service, but real money from a real, though anonymous, patron. Money enough to pay child support without needing a real job. Money can’t buy happiness, but it increases your chances. Until his patron gives Zachary a harsh choice. Compromise his artistic vision, or lose funding. Zachary refuses to give in. He knows how to unearth secret information from the Internet. His patron won’t stay anonymous for long. What will his patron say when Zachary shows up at his door? —Previously published in Analog, January/February 2024

To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.

"Cosimo de'Medici (1389-1464), the fabulously wealthy banker who became the leading citizen of Florence in the fifteenth century, spent lavishly as the city's most important patron of art and literature. This book is the first comprehensive examination of the whole body of works of art and architecture commissioned by Cosimo and his sons. By looking closely at this spectacular group of commissions, we gain an entirely new picture of their patron, and of the patron's point of view. Recurrent themes in the commissions - from Fra Angelico's San Marco altarpiece to the Medici palace - indicate the main interests to which Cosimo's patronage gave visual expression. Dale Kent offers new insights and perspectives on the individual objects comprising the Medici oeuvre by setting them within the context of civic and popular culture in early Renaissance Florence, and of Cosimo's life as the leader of the Medici lineage and the dominant force in the governing elite." "From the wealth of available documentation illuminating Cosimo de'Medici's life, the author considers how his own experience influenced his patronage; how the culture of Renaissance Florence provided a common idiom for the patron, his artists, and his audience; what he preferred and intended as a patron; and how focussing on his patronage of art alters the image of him that is based on his roles as banker and politician. Cosimo was as much a product as a shaper of Florentine society, Kent concludes. She identifies civic patriotism and devotion as the main themes of his oeuvre and argues that religious imperatives may well have been more important than political ones in shaping the art for which he was responsible and its reception."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

An analysis of Italian Renaissance art from the perspective of the patrons who made 'conspicuous commissions', this text builds on three concepts from the economics of information - signaling, signposting, and stretching - to develop a systematic methodology for assessing the meaning of patronage.

The essays in this volume, from those that look at patronage from a theoretical perspective as it relates to issues such as gender, social and economic history, to individual case studies, highlight our need to look at the subject anew.

The fourteen essays in this collection explore the dominance of patronage in Renaissance politics, religion, theatre, and artistic life. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

During much of the sixteenth century, Rome was the artistic centre of the known world, and Cardinal Alessandro Farnese, the wealthy and powerful grandson of Pope Paul III, was the city's most important individual patron of the visual arts. For over fifty years Farnese commissioned buildings and paintings of the highest quality from the major artists active in the city. Using a wealth of hitherto unpublished material, Clare Robertson provides the first thorough reconstruction of Farnese's development and influence as a patron, at the same time, raising important questions about the attitudes and motives of Renaissance patrons and challenging a number of current art-historical assumptions about patronage. She shows how Farnese began his patronage with costly works of decorative art and thus embarked on an extensive campaign of secular commissions from artists such as Titian, Vasari, and Taddeo Zuccaro. His secular patronage culminated with his magnificent villa at Caprarola, designed by Vignola. Only in the 1560s, after some thirty years as a Cardinal, did he turn to commissions for religious works, mainly in response to Counter Reformation pressures and because of his fervent desire to become Pope. The emphasis of his patronage then changed dramatically as he embarked on building an impressive number of new churches, including the Gesu, the most influential church of the late sixteenth century. This handsomely illustrated study of a major artistic figure will be indispensable to students and scholars of sixteenth-century Italy and its art.

Fusing the social and economic history with the cultural and artistic achievements of seventeenth and eighteenth century Italy, this book presents a unique and invaluable perspective on the period.

A fascinating shift toward more nuanced interpretations of Roman art that look at different kinds of social knowledge and local contexts