Hostname: page-component-84b7d79bbc-x5cpj Total loading time: 0 Render date: 2024-07-30T03:32:38.989Z Has data issue: false hasContentIssue false
  • English
  • Français

What did the Renaissance Patron Buy?

Published online by Cambridge University Press:  20 November 2018

Creighton E. Gilbert
Creighton E. Gilbert*
Affiliation:
Yale University
Get access Rights & Permissions [Opens in a new window]

Abstract

This paper is generated by the widespread opinion that Renaissance patrons usually kept creative control over works they commissioned. It analyzes two of the few instances usually cited and adds many more, some involving single works and some implicating a wide spectrum. A considerable range emerges. At one end artists, not only famous ones, can be deferred to as better experts on how themes are shown. At the other, patrons retain tight control of such unique themes as their family histories. A conclusion speculates on possible reasons for the strength of this opinion, in view of its fairly limited basis.

Type
Studies
Information
Renaissance Quarterly , Volume 51 , Issue 2 , Summer 1998 , pp. 392 - 450
Copyright
Copyright © Renaissance Society of America 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alberti, Leon Battista. I primi tre libri delta famiglia. Florence, 1946.Google Scholar
Alberti, Leon Battista. Delia Pittura. Turin, 1950.Google Scholar
Alexander, Jonathan. Medieval Illuminators and their Methods of Work. New Haven, 1992.Google Scholar
Ausserer, Carlo, and Giuseppe Gerola. “I documenti clesiani del Buonconsiglio.“ Miscellanea di storia venetotridentina, 2d. ser., 1 (1926): 1–158.Google Scholar
Banker, James. “The Sassetta Altarpiece.“ Tatti Studies 4 (1991): 11–58.Google Scholar
Battilotti, Donata and Franco, Maria. “Regesti di Committenti e dei primi collezionisti di Giorgione.“ Antichita viva V (1978): 67.Google Scholar
Belting, Hans. Likeness and Presence. Oxford, 1994.Google Scholar
Beltrami, Luca. Castello di Milano. Milan, 1894.Google Scholar
Berenson, Bernard. Aesthetics and History. New York, 1954.Google Scholar
Betussi, Giovanni. Lihro di M. Giovanni Boccaccio … con una additione. Venice, 1545.Google Scholar
Borsook, Eve. “Documenti relativi alle cappelle di Lecceto … “ Antichita viva 3 (1970): docs. 16–18.Google Scholar
Brown, Clifford. “The Church of St. Cecilia …” Mitteilungen des Kunsthistorischen Institutes in Florenz 13 (1968): 121ff.Google Scholar
Brun, Robert. “Notes sur le commerce des objets d'art en France …” Bibliotheque de I'ecole des chartes 94 (1934): 341–43.Google Scholar
Bullard, Melissa. “Heroes and their Workshops.” Journal of Medieval and Renaissance Studies 24 (1994): 183.Google Scholar
Burke, Peter. “L'artista.” In Storia dell'-arte italiana. Parte Prima, 2. Turin, 1979, 96.Google Scholar
Canuti, Fiorenzo. Pietro Perugino. Siena, 1931.Google Scholar
Caradente, Giovanni. trionfi. Rome, 1963.Google Scholar
Caro, Annibale. Scelte di lettere. Milan, 1825.Google Scholar
Cartari, Vincenzo. Le imagini de i dei. Venice, 1580.Google Scholar
Chambers, David. Patrons and Artists in the Italian Renaissance. New York, 1971.Google Scholar
Chambers, David. and Brian Pullen, eds. Venice: A Documentary History. Oxford, 1992.Google Scholar
Cohn, Samuel. The Cult of Remembrance and the Black Death. Baltimore, 1992.Google Scholar
Cortesi Bosco, Francesco. Gli affreschi dell'oratorio Suardi. Bergamo, 1980.Google Scholar
Cortesi Bosco, Francesco. Il Coro intarsiato di Lotto. Milan, 1987.Google Scholar
Davies, Martin. National Gallery Catalogues: The Earlier Italian Schools. London, 1951.Google Scholar
Dempsey, Charles. The Portrayal of Love: Botticelli's Primavera. Princeton, 1992.Google Scholar
De Roover, Raymond. The Rise and Decline of the Medici Bank. New York, 1966.Google Scholar
Emiliani, Andrea. Mostra di Federico Barocci. Bologna, 1975.Google Scholar
Esch, Arnold, and Doris. “Die Grabplatte Martins V …” Romisches Jahrbuch fur Kunstgeschichte 17 (1978): 211.Google Scholar
Ettlinger, Leopold. The Sistine Chapel before Michelangelo. Oxford, 1965.Google Scholar
Ewing, Dan. “Marketing Art in Antwerp, 1460-1560.” Art Bulletin 72 (1990): 558-84.Google Scholar
Favaro, Elena. L'arte dei pittori. Florence, 1975.Google Scholar
Franklin, David. Rosso in Italy. New Haven, 1994.Google Scholar
Fraser-Jenkins, A.D. “Cosimo de' Medici's Patronage of Architecture and the Theory of Magnificence.“ Journal of the Warburg and Courtauld Institutes 33 (1970): 162-70.Google Scholar
Friedman, David. “The Burial Chapel of Filippo Strozzi … “ L'arte 9 (1970): 108-31.Google Scholar
Fumi, Luigi. Duomo di Orvieto. Rome, 1891.Google Scholar
Galis, Diana. “Concealed Wisdom: Renaissance Hieroglyphic and Lotto's Bergamo Intarsie.” Art Bulletin 62 (1980): 363–75.Google Scholar
Gamurrini, G.F. “I pittori aretini.“ Rivista d'arte 10 (1917): 88–97.Google Scholar
Garms, Jorg. Die mittelalterlichen Grabmdler in Rom und Latium, 2. Vienna, 1994.Google Scholar
Gardner, Julian. “Altars, Altarpieces, and Art History.” In Italian Altarpieces 1250-1550, ed. Eve Borsook and Fiorella Superbi Gioffredi, 10. Oxford, 1994.Google Scholar
Gaye, Giovanni. Carteggio inedito d'artisti. Florence, 1839.Google Scholar
Ghiberti, Lorenzo. I Commentari. Naples, 1947.Google Scholar
Gibbons, Felton. Dosso and Battista Dossi. Princeton, 1968.Google Scholar
Gilbert, Creighton. “The Archbishop on the Painters of Florence.” Art Bulletin 41 (1959): 76–77.Google Scholar
Gilbert, Creighton. “A Statement of the Aesthetic Attitude Around 1230.” Hebrew University Studies in Literature and the Arts 13 (1985): 125–32.Google Scholar
Gilbert, Creighton. L'arte del Quattrocento nelle testimonianze coeve. Florence, 1988.Google Scholar
Gilbert, Creighton. “Several of the Contexts of Savoldo's Dead Christ.” Bulletin of the Cleveland Museum of Art 79 (1992): 29–30.Google Scholar
Gilbert, Creighton. Michelangelo on and off the Sistine Ceiling. New York, 1994.Google Scholar
Gilbert, Creighton. Caravaggio and his Two Cardinals. University Park,, 1995.Google Scholar
Glasser, Hannelore. Artists’ Contracts of the Early Renaissance. New York, 1977.Google Scholar
Goldthwaite, Richard. Wealth and Demand for Art in Italy. Baltimore, 1993.Google Scholar
Grote, Andreas. “A hitherto unpublished letter on Benozzo Gozzoli's Frescoes in the Palazzo Medici-Riccardi.” Journal of the Warburg and Courtauld Institutes 27 (1964): 321–22.Google Scholar
Grunzweig, Armand. Correspondance de la filiale de Bruges des Medicis. Brussels, 1931.Google Scholar
Gundersheimer, Werner. Art and Life and the Court of Ercole I d'Este. Geneva, 1972.Google Scholar
Haskell, Francis. Patrons and Painters. London, 1963.Google Scholar
Hollingsworth, Mary. Patronage in Renaissance Italy. London. 1994.Google Scholar
Humfrey, Peter. The Altarpiece in Renaissance Venice. New Haven, 1993.Google Scholar
Jacobs, Lynn. “The Marketing and Standardization of South Netherlandish Carved Altarpieces: Limits on the Role of the Patron.” Art Bulletin 71 (1989): 208–29.Google Scholar
Kanter, Laurence and Franklin, David. “Some Passion Scenes by Signorelli.“ Mitteilungen des Kunsthistorischen Institutes in Florenz 35 (1991): 172–92.Google Scholar
Kempers, Bram. Kunst Macht en Mecenaat. Amsterdam, 1987.Google Scholar
Kent, F.W. and Dale. “Messer Manno Temperani … “ Rinascimento 23 (1983): 246f.Google Scholar
Kent, F.W. and Simons, Patricia, eds. Patronage, Art and Society in Renaissance Italy. Canberra, 1987.Google Scholar
Kliemann, Julius. Gesta dipinte. Milan, 1993.Google Scholar
Krautheimer, Richard. Lorenzo Ghiberti. Princeton, 1956.Google Scholar
Ladis, Andrew. “Fra Angelico: Newly Discovered Documents.” Mitteilungen des Kunsthistorischen Institutes in Florenz (1981): 378–79.Google Scholar
Lamer, Jeremy. Culture and Society in Italy 1290-1420. New York, 1971.Google Scholar
Lewine, Carole. The Sistine Chapel Walls and the Roman Liturgy. University Park, 1993.Google Scholar
Lightbown, Ronald. Mantegna. London, 1986.Google Scholar
Luzio, Alessandro. “Federigo Gonzaga Ostaggio.” Archivio della R. Societa romana di storia patria 9 (1886): 564.Google Scholar
Luzio, Alessandro.“Isabella d'Este e Giulio II.” Rivista d'ltalia 12 (1909): 861–65.Google Scholar
Luzio, Alessandro. La galleria dei Gonzaga. Milan, 1913.Google Scholar
Lzio, Alessandro and Renier, Rodolfo. “La coltura …” Giomale storico della letteratura italiana 34 (1899) -38 (1901).Google Scholar
Malquori, Alessandra. Tempo d'avversita: gli affreschi dell'altana di Palazzo Rucellai. Florence, 1993.Google Scholar
Mangum, Brian and Scavizzi, Giuseppe, eds. A Reformation Debate: Karlstadt, Emser and Eck on Sacred Images. Ottawa, 1991.Google Scholar
Marquand, Allan. Luca della Robbia. Princeton, 1914.Google Scholar
Michelangelo. Lettere. Florence, 1875.Google Scholar
Michelangelo. Carteggio, 2–4. Florence, 1967-79.Google Scholar
Milanesi, Gaetano. Documenti per la storia dell'arte senese. Siena, 1854.Google Scholar
Monfasani, John. “A description of the Sistine Chapel under Pope Sixtus IV.” Artibus et Historiae 7 (1983): 9–18.Google Scholar
Muraro, Michelangelo. “Studiosi, collezionisti, e opere d'arte … “ Saggi e memorie di storia dell'arte 4 (1965): 68.Google Scholar
Muraro, Michelangelo. II libro secondo di Francesco ejacopo da Ponte. Bassano, 1992.Google Scholar
Onians, John. Bearers of Meaning. Princeton, 1988.Google Scholar
Orlandi, Stefano. Beato Angelico. Florence, 1964.Google Scholar
Parronchi, Alessandro. “The Language of Humanism and the Language of Sculpture.” Journal of the Warburg and Courtauld Institutes 27 (1964): 125.Google Scholar
Perosa, Alessandro. Giovanni Rucellai e il suo zibaldone. London, 1960.Google Scholar
Piattoli, Renato. “Un mercante del trecento e gli artisti del tempo suo.” Rivista d'arte 11 (1929), 231 ff.Google Scholar
Pontano, Giovani. Opere. 1538.Google Scholar
Pope-Hennessy, John. Italian High Renaissance and Baroque Sculpture. London, 1963.Google Scholar
Popham, Arthur. Drawings of Leonardo da Vinci. New York, 1945.Google Scholar
Ricci, Corrado. “Benozzo Gozzoli: la pala della … Purificazione.“ Rivista d'arte 2 (1904): 10.Google Scholar
Ridolfi, Carlo. Life of Tintoretto. University Park,, 1984.Google Scholar
Rigoni, Erice. “Nuovi documenti sul Mantegna.” Istituto veneto di scienze lettere ed arti, Atti 87 (1927-28): 1185.Google Scholar
Rosand, David. Painting in Cinquecento Venice. New Haven, 1982.Google Scholar
Rossi, Adamo. “Spogli vaticani.“ Giornale di erudizione artistica 6 (1877): 153–55.Google Scholar
Ruhmer, Eberhard. Cossa. London, 1959.Google Scholar
Sandler, Lucy. “Notes for the Illuminator.“ Art Bulletin 71 (1989): 551. Savoldo (exhibition catalogue). Milan, 1990.Google Scholar
Schapiro, Meyer. Theory and Philosophy of Art. New York, 1994.Google Scholar
Serlio, Sebastiano. Regole generali di architettura. Venice, 1537.Google Scholar
Settis, Salvatore. La tempesta interpretata. Turin, 1978.Google Scholar
Sinding Larsen, Staale. Christ in the Council Hall. Rome, 1974.Google Scholar
Smith, Jeffrey Chipps. Review of Schmid, Kolner Renaissancekultur. Renaissance Quarterly 47 (1994): 448.Google Scholar
Southard, Edna. The Frescoes of Siena's Palazzo Puhblico. New York, 1979.Google Scholar
Stechow, Wolfgang. Sources and Documents: Northern Renaissance Art. Englewood Cliffs, 1966.Google Scholar
Sterling, Charles. Enguerrand Quartan. Paris, 1983.Google Scholar
Thomson, David. Renaissance Architecture: Critics, Patrons, Luxury. Manchester, 1993.Google Scholar
Thornton, Peter. The Italian Renaissance Interior. New York, 1991.Google Scholar
Tolnay, Charles de. The Sistine Ceiling. Princeton, 1945.Google Scholar
Trinkaus, Charles. In Our Image and Likeness. 2 vols. Oxford, 1970.Google Scholar
Valla, Lorenzo. On Pleasure/De Voluptate. New York, 1977.Google Scholar
Vasari, Giorgio. Le vite de'piu eccellenti pittori.. . Florence, 1969-87.Google Scholar
Verheyen, Egon. The Paintings in the Studiolo of Isabella d'Este. New York, 1971.Google Scholar
Vermiglioli, Giovanni. Di Bernardino Pinturicchio. Perugia, 1837.Google Scholar
Wackernagel, Martin. The World of the Florentine Renaissance Artist. Princeton, 1981.Google Scholar
Watson, Elizabeth. Achille Bocchi and the Emblem Book. Cambridge, 1993.Google Scholar
Weil-Garris, Kathleen and D'Amico, John. “The Renaissance Courtier's Ideal Palace.” Studies in Italian Art and Architecture. Cambridge, 1980.Google Scholar
Welch, Evelyn. “Galeazzo Maria Sforza and the Castello di Pavia.” Art Bulletin 71 (1989): 352–74.Google Scholar
Wilde, Johannes. Michelangelo: Six Lectures. New York, 1978.Google Scholar
Wittgens, Fernanda. Vincenzo Foppa. Milan, n.d.Google Scholar
Yriarte, Charles. “Isabella d'Este,” 6. Gazette des Beaux-Arts 38 (1896): 331.Google Scholar
Zampetti, Pietro. libro di spese diverse. Venice, 1969.Google Scholar