Art History - Essay Example

Art History Introduction In modern civilizations, people have become familiarized to a consistent method of identifying individuals because of creation of approved documents such as passports and other formal identification documents. This regularity in names was not common ancient Italy. Artists were named by their hometown. This resulted in significant challenges for artists in archiving documents especially those who hailed from the same geographical location (Kleiner, 22). Nicola Pisano was one of the earliest artists specializing in carving marble reliefs and ornamentation of church platforms. He incorporated classical elements such as round arches instead of the common pointed ones resulting to fully-scaled figures. These figures were relied in formation of compositions in Roman. Later, Glovanni, Pisano’s son, introduced a contrasting version of art by arranging figures loosely and dynamically creating excitement in the evolving art motion (Kleiner, 23-30). Painting architecture during ancient Italy patronage system was the influence by the fall of Constantinople in 1204. One of the leading painters, Bonaventura used oil to paint on wood focusing on church figures such as saints. Biblical narratives were a great source of influence in painting which led to the construction of churches in the 13th century. This led to development of laypersons in the 14th and 15th century who dedicated themselves to strict religious observance (Kleiner, 37-40). Between 14th and 16th century training to become a formal artist became a necessity through which an individual acquired membership in the appropriate guild. Humanist and artist Leon Battista Alberti set the rules governing the art of painting. Pietro Lorenzetti contribution pictorial realism in 14th century incepted a new feature in arts. Flemish painters were evolving new methods in oil painting that permitted them to paint human beings and substance in amazingly life like way, using palettes of vivacious descriptions. Prior to this, arts were religious in character. Structural innovation, involving careful inspection of what lay directly before an artist eye started taking place. Artists introduced illusionistic representation in fashion and visual form all societal concerns (Kleiner, 43-57). Inclusion of secular them in art work was a reflection of the evolving societal. With seclusion of laymen and women strictly following religious doctrines, other societal members relied on artwork to express their views on religion and the world (Kleiner, 60-77). Changes in Patronage, and its relation to Socio/religious and geopolitical changes Throughout the fourteenth, fifteenth and sixteenth centuries, artists situated in Italy had achieved a number of skills that allowed them to solidify the human form more effectively than ever before. Innovation of linear perception was among the core development (Kleiner, 102-123). Patronage systems in ancient Italy were a system of individual ties and links in which a benefactor or higher offered security and upkeep to an inferior person in society, who in return owed him devotion and service. These ties were deliberate and were mostly linked between individuals in mutual assistance relationships. Patrons were to reward the loyal service of a client if he wanted to keep it, and a client had to repay his generosity with a loyal service if he wanted to receive patronage in future. This was the definitive characteristic of the patronage system (Kleiner, 135). Patronage was necessary for the advancement of arts and was essential to social inclusion because the hierarchical societies had limited ways of inclusion of societal members equally. Family patronage was responsible for the advancement of arts. During this era, times were hard for both the rich and poor as a result of collapse of the feudal system in Europe. Patronage was thus practiced as a social institution (Kleiner, 145-148). The Church and Patronage Systems In Florence, patronage was associated with the church, which saw the strong political influence in central Italy. It was a key social status creating an absolute social hierarchy. Career and social mobility was impossible apart from being involved in a network of patronage relationships. Apart from arts, it extended to academia and sciences. Sponsoring several clients indicated substantial wealth and an interest in the community adding prestige. Ironically, the patrons used to distance themselves publicly from their clients (Kleiner, 179). The Roman Catholic Church and later the Protestants used patronage of arts to endorse their ambitions and prestige. They achieved this through the sponsoring of architecture, which is still observable in churches, cathedral paintings (kleiner, 179). Socially, other discipline benefited including pre-modern science, musicians, writers, philosophers, alchemists, scholars and astrologers. Diverse artists were able to rise the societal hierarchy enjoying the patronage of the rich and influential societal members (Kleiner, 184). Politics and patronage Systems With a great deal of patronage at their disposal, political leaders recognized arts as an executive branch during appointments. This led to abuse of laws and ethics of conducts through engaging in nepotism. This leads to the current scene in Italy. The church holds a prominent voice in most of the political happenings. Of importance, is the generosities inherit in the Catholic Church having roots in the ancient societal patronage (Kleiner, 128). Distinctions in Patronage There are clear distinctions in patronage that results in different aesthetics. Different forms of art follow different patterns in art of patronage. Different social groups used different kinds of art objects to express themselves. These are closely linked to social stratification, and patronage distinction can be better understood when seen in this light. Fashions and trends in the past have also contributed to these distinctions. Distinctions among nobles, office holders, town and the court, church and lay people were complicated in their features and characters. Another contributing factor to these distinctions in patronage was art work the demand in the market place. Formation of groups began. Fully grown art was separated from those considered sub-substandard (Kleiner, 135-167). Northern and Italian Renaissance The Italian and the Northern European Renaissance were very important periods. Much of what happened during these periods paved way for many other civilizations. Distinctions inherit in patronage accounts for differences between Northern and Italian Renaissance. Patrons were of different backgrounds. Financial capability restrained the aesthetic pleasure these patrons derived from the arts. Religious entities in both Renaissances were completely different. Their beliefs either contributed or opposed developing arts, and in many instances they formulated guidelines which were to be adhered to (Kleiner, 123). Availability of media was another important factor with the employment of Fresco, tempera and oil in Italian Renaissance and oil on the panel in the Northern Renaissance. In conclusion, the distinctions in patronage are a contributing factor to the observable differences in Northern and Italian Renaissance. This opens a research area in historical relationship between cultural practices during these periods. In conclusion, considerable research in art patronage remains to be done in order to enhance the understanding of the root causes of distinctions between the Northern and Italian Renaissance (Kleiner, 200-217). Work Cited Kleiner, Mamiya, Gardner’s.’ Art Through The Ages’. AHIS 2 Santa Monica College 13e (2010): 22-217 Read More