IMPACT OF PATRONAGE ON THE EMERGENCE AND DEVELOPMENT OF RENAISSSANCE ART

Patrons, have for a long time been the all-time controllers of the kind of art that is presented in the market. Patrons are some of the most active and heaviest consumers of arts. Patronage of art works in the 15th century symbolized status, power and wealth in the society as much as it came a long way into bringing entertainment as well as propaganda to the industry. The Renaissance patrons are mainly the actual group of people that need to take all the credit for all the art that was produced in the 15th century. The Italian Renaissance and the Northern Renaissance are just but the two renaissance categories that could be compared. Artists in the Northern Europe lost a vast amount of patronage from the church as the new iconoclasm system that was based on the utter conviction that such devotion to images of that sort paved way to idolatry.

Several artists such as Albert Altdorfer, Lucas Cranach and Hans Hoblein in reaction to disorder ventured into alternative forms of art such as landscape arts, mythological arts as well as portraiture so as to satisfy their new secular patrons. Meanwhile in Italy, artists underwent a totally different struggle in some sort. The artistic personality that was formed as a result of the humanists keen interest in the writings of Central Italy’s Pico della Mirandola based on the dignity of mankind as well as the Pseudo-Dionysius based on the primacy of one self were generally the accredited by the patrons. The patrons, insead of the artists, generally took credit of the artworks. Moreover, patrons play a crucial role in financial support and offer privileges to artists such as Leonardo da Vinci while he was creating the Monalisa.