Journal articles: 'Art patrons'

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Beier, Ulli. "Nigerian Art Patrons." African Arts 21, no. 4 (August 1988): 82. http://dx.doi.org/10.2307/3336755.

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Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (April 26, 2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.

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Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.

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Muehlbauer, Mikael. "Ethiopian Church Art: Painters, Patrons, Purveyors." Northeast African Studies 22, no. 2 (2022): 179–84. http://dx.doi.org/10.14321/nortafristud.22.2.00179.

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S. Rosenbaum, Mark, Jillian C. Sweeney, and Carolyn Massiah. "The restorative potential of senior centers." Managing Service Quality 24, no. 4 (July 8, 2014): 363–83. http://dx.doi.org/10.1108/msq-11-2013-0264.

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Purpose – The purpose of this paper is to help senior center managers and service researchers understand why some patrons experience health benefits, primarily fatigue relief, through senior center day services participation. Design/methodology/approach – The authors conduct two separate studies at a senior center. The first study represents a grounded theory that offers an original, basic social process regarding mental restoration in senior centers. The second study draws on Attention Restoration Theory (ART) and employs survey methodology. Findings – Senior center patrons who perceive a center's restorative stimuli experience health benefits such as relief from four types of fatigue, enhanced quality of life, and improved physical and mental well-being. Research limitations/implications – The paper shows that senior centers may be relatively inexpensive, non-medical services that can help patrons relieve fatigue symptoms, which are often treated with pharmaceutical medication and medical visits. A limitation is the small sample size, which restricts generalizability. Practical implications – The results show that senior center managers may promote patron health by fostering service designs and programs that allow members to temporarily escape from everyday life and interact in an ever-changing environment that fosters a sense of belonging. Social implications – Senior center day services help patrons relieve fatigue, and its symptoms, in an affordable, non-medical, and non-pharmaceutical manner. Originality/value – The paper clarifies the role of senior centers in patrons’ lives by drawing on ART. Senior centers that can offer patrons restorative environments are likely to play a significant role in patrons’ physical, social, and mental well-being.

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Quesenberry, LeGene, and Bruce W. Sykes. "Leveraging the Internet to Promote Fine Art: Perspectives of Art Patrons." Journal of Arts Management, Law, and Society 38, no. 2 (July 2008): 121–40. http://dx.doi.org/10.3200/jaml.38.2.121-140.

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Kovalyov, N. I. "Illies, F. (2019). Just now the sky was blue. Texts on art. Translated by V. Serov. Moscow: Ad Marginem Press, Muzey sovremennogo iskusstva ‘Garazh.’ (In Russ.)." Voprosy literatury, no. 4 (August 19, 2021): 286–89. http://dx.doi.org/10.31425/0042-8795-2021-4-286-289.

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The reviewer claims that Florian Illies’ essays demonstrate a perfect balance between pure scholarship and journalism. Despite representing a miscellany of genres (book and exhibition reviews, articles summarising the author’s view of various painters and art historians), the collection proves harmonious due to a common motif of the essays. The book does not draw a strict line between history of literature and art history. Similarly, Illies does not separate art history from the context of the life around art, i. e. the authors’ correspondence, their relationships with their family and friends, fellow artists and patrons. His unconventional view of art history enables Illies to identify interesting overarching subjects which include the problem of the patron’s influence on a work of art and the category of taste. The essayist is particularly interested in ‘second-rank’ authors, who, he suggests, emerge as first-rank in various historical periods.

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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (October 1, 2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.

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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.

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KUMAR, MUKESH. "The Art of Resistance: The Bards and Minstrels’ Response to Anti-Syncretism/Anti-liminality in north India." Journal of the Royal Asiatic Society 29, no. 2 (December 27, 2018): 219–47. http://dx.doi.org/10.1017/s1356186318000597.

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This article addresses the issue of passive resistance by the Jogi and Mirasi musician castes against the puritanical notions of their former patrons, Meos. After the Meo patrons embraced the Tablighi Jamaat's version of Islam, the Jogis and Mirasis feel pressured to give up performing. Their artistry is also their livelihood which they value very much. By using James Scott's understanding of ‘passive resistance’ and ‘hidden transcript’ this article shows the use of poetic art for passive resistance. In doing so, the Jogis and Mirasis do not compromise with the civility of the art and positively use the lyrics of their new songs against the Meo patrons’ versions of religious purity on one hand, and extremist Hinduism on the other. They, in fact, emphasize a version of righteousness that is universal and thus needs no organised religion.

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Szívόs, Erika. "Fin-De-Siècle Budapest as a Center of Art." East Central Europe 33, no. 1-2 (2006): 141–69. http://dx.doi.org/10.1163/187633006x00097.

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AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehouses' reputations, became sites of casual networking and the cultivation of personal relationships between artists, patrons, and various mediators in the arts.

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Roberts, Ann M., Sheryl E. Reiss, and David G. Wilkins. "Beyond Isabella: Secular Women Patrons of Art in Renaissance Italy." Sixteenth Century Journal 33, no. 4 (2002): 1204. http://dx.doi.org/10.2307/4144208.

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Pearce, R. L. "SH07ï¿½COATES AND DUNLOP - ART PATRONS OF THE BURMA RAILROAD." ANZ Journal of Surgery 79 (May 2009): A75. http://dx.doi.org/10.1111/j.1445-2197.2009.04931_7.x.

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Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur (1822–1895), his friendships with the artists Max Claudet (1840–1893) and Paul Dubois (1829–1905), and his public image in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (July 9, 2016): 9–18. http://dx.doi.org/10.1177/0967772015575889.

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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the third in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In their first article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. A second study documented his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighbouring Alsace. The present study explores Pasteur's friendships with Max Claudet and Paul Dubois, both of whom created important representations of Pasteur. These friendships and others with patrons reveal an active pursuit of patronage and reputation building from 1876 into the late 1880s. Yet, although Pasteur actively used public art to raise his status, it becomes clear in these stories that for Pasteur beauty was an ideal and art a pleasure for its own sake.

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Fedotova, E. D. "О великом деле «собирания искусств»." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 129–33. http://dx.doi.org/10.46748/arteuras.2020.04.010.

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The article is an introduction to the conference “From the history of collecting: patrons, collectors, founders of museums”, organized by the Russian Academy of Arts. The author's address to the participants is devoted to a short story about people whose names are associated with the concept of “charity” — patrons, collectors, founders of museums in Russia and abroad. These are well-known personalities of various national schools, who became famous for their deeds in the field of caring for the preservation of cultural heritage. The purpose of the conference is to remember their names and noble activities. Статья представляет собой вступительное слово к конференции «Из истории собирательства: меценаты, коллекционеры, основатели музеев», организованной Российской академией художеств. Обращение автора к участникам посвящено краткому рассказу о людях, чьи имена связаны с понятием «благотворительность», — меценатах, коллекционерах, основателях музеев России и зарубежных стран. Это известные личности разных национальных школ, своими деяниями прославившиеся на поприще заботы о сохранении культурного наследия. Цель конференции — вспомнить их имена и благородную деятельность.

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Atasoy, Nurhan. "Early ‘art libraries’ in Turkey." Art Libraries Journal 21, no. 2 (1996): 15–18. http://dx.doi.org/10.1017/s0307472200009822.

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Early Turkish libraries, attached to such institutions as mosques and medreses, comprised collections of manuscripts including many of great artistic value. Medreses and their libraries were endowed by the Ottoman rulers, who as patrons of the arts were also responsible for causing many manuscripts to be produced. Scholars owned private libraries, and libraries for the public existed in every district of Istanbul. Many of the collections of these libraries survive, in some cases in museums and in libraries of later origin, in Istanbul University Library, and in the National Library at Ankara.

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Deutch, Samantha. "ARt Image Exploration Space (ARIES): A response to the image needs of art library patrons." Art Libraries Journal 46, no. 1 (January 2021): 7–12. http://dx.doi.org/10.1017/alj.2020.31.

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AbstractARt Image Exploration Space (ARIES) is a free, cloud-based dynamic environment offering art historians and others an extensive array of practical tools for analysing images. It is the product of a successful collaboration between art historians, librarians, computer scientists, and engineers from the Frick Art Reference Library, New York University's Tandon School of Engineering, and Brazil's Universidade Federal Fluminense. ARIES is a powerful tool for art historians, both replicating and augmenting traditional methods they have long-used to study images.1 With the advent of the prevalent use of digital photos, art historians lacked the technology capable of replacing what they had previously been able to accomplish in the analogue world. Wood Ruby and Deutch realized that art historians needed an out-of-the-box solution that didn't require extensive knowledge of other disciplines (computer science and engineering). The result of successful collaborations and a generous donation, ARIES is now available in BETA form at www.artimageexplorationspace.com.

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Campbell, Laura. "Worshipping Beauty in the South Seas." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 75–90. http://dx.doi.org/10.24135/backstory.vi6.46.

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This article analyses the wave of avant garde art movements that arrived on our shores in the late nineteenth century and its impact on applied art and the general lifestyles of artists and patrons in New Zealand. With particular reference to Kennett Watkins’ speech given at a meeting of the New Zealand Art Students’ Association’ in 1883, this account looks at the display of Māori objects in both public settings and in the privacy of the artist’s studio. It also acknowledges the role of illustrated magazines in promoting the public profile of professional artists working in Auckland at the turn of the twentieth century. Many patrons in the elite social circles of Auckland admired artists such as Charles F. Goldie for being arbiters of taste and hisbeautifully decorated studio both linked him to the ways European academic artists presented themselves, while using local artifacts to connect his practice to New Zealand. The dispersal of illustrated art magazines in New Zealand became a marketing tool for artists to promote their art practice but, most of all, elevate their status as members of the social elite in urban centres.

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Lancey, Julia A. De, and Cynthia Lawrence. "Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs." Sixteenth Century Journal 29, no. 2 (1998): 591. http://dx.doi.org/10.2307/2544572.

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Nelson, Jason. "How to transform dog/horse pron/hump lovers into art patrons." Hyperrhiz: New Media Cultures, no. 7 (April 2010): 1. http://dx.doi.org/10.20415/hyp/007.g03.

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Zadoia, A., and I. Syzonenko. "The role of patronage in popularizing the work of Stanislav Zhukovsky." Science and Education a New Dimension IX(254), no. 46 (June 30, 2021): 18–21. http://dx.doi.org/10.31174/send-hs2021-254ix46-04.

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The article is devoted to the study of the peculiarities of patronage as a socio-cultural phenomenon, the forms of its manifestation in Russia at the end of the 19th and the beginning of the 20th centuries, as well as the influence on the formation of the creative fate of a particular person - the Polish artist Stanislav Yulianovich Zhukovsky (1873-1944), who, by the will of historical destinies, in the period under review lived on the territory of the Russian Empire in Moscow. The role of individual patrons of art in supporting the artist through the acquisition of his paintings is analyzed. The fate of individual works of the artist, which have survived to this day thanks to the private collections of Russian patrons of art, has been investigated.

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Winston, Andrew S. "Simple Pleasures: The Psychological Aesthetics of High and Popular Art." Empirical Studies of the Arts 13, no. 2 (July 1995): 193–203. http://dx.doi.org/10.2190/u40c-qxb0-4rxq-8pq0.

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Popular Art, typically rejected by high art patrons, consists of technically skilled but sentimentalized images of wildlife, country life, and family life. Major themes and features of popular art are discussed. In a series of studies, viewers without art background focused on warm, pleasant feelings to justify choice of popular images, whereas experienced viewers focused on the structure of the work to justify preference for high art images. Preference for popular art was associated with the general belief that good art provides immediate pleasure to a wide audience. The ways in which popular art violates high art rules, such as the requirement for disinterested contemplation, are outlined.

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Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.

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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian and European Jewry and the history of collections and donations to public museums.

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JOHNSON, JAKE. "The Music Room: Betty Freeman's Musical Soirées." Twentieth-Century Music 14, no. 3 (October 2017): 391–409. http://dx.doi.org/10.1017/s1478572217000330.

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AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

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Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.

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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’

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Dunn, Marilyn R. "Nuns as Art Patrons: The Decoration of S. Marta al Collegio Romano." Art Bulletin 70, no. 3 (September 1988): 451. http://dx.doi.org/10.2307/3051177.

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Dunn, Marilyn R. "Nuns as Art Patrons: The Decoration of S. Marta al Collegio Romano." Art Bulletin 70, no. 3 (September 1988): 451–77. http://dx.doi.org/10.1080/00043079.1988.10788582.

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Bolgia, Claudia. "PATRONS AND ARTISTS ON THE MOVE: NEW LIGHT ON MATTEO GIOVANNETTI BETWEEN AVIGNON AND ROME." Papers of the British School at Rome 88 (January 9, 2020): 185–213. http://dx.doi.org/10.1017/s0068246219000370.

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This article reassesses artistic production in Rome at the time of the temporary return of Pope Urban V, between 1367 and 1370, after a lengthy period of absence of the papacy in Avignon, and offers new insights into the long-term impact of this production. It does so by starting from a thoroughly neglected artwork now in the Museo Storico Artistico del Tesoro di S. Pietro, a victim of the traditional interpretative dichotomy as either a work by Giotto or not. By taking a different methodological approach, which is to think in terms of movement of patrons and artists, and on the basis of combined technical/visual analysis and documentary sources, the article sheds new light on this painting, offering new proposals concerning its dating, attribution, original location and function. It then addresses its historical contextualization and significance, allowing us to rethink art in Rome in the fourteenth century by discussing the role that the circulation of patrons and artists played in creating new forms. This discussion not only contributes to a better understanding of the art produced in Rome in the Trecento but also throws some light on the very origins and nature of Renaissance art.

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Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (June 2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.

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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disconnect, the relationship between Jewish-Israeli art and its patrons around the world has received little attention before now. Consequently, the discussion of art created in different spaces and times contributes to a richer, more contextualized understanding of diasporic art.

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Burrus, Sean P. "A Jewish Child’s Portrait? The Kline Sarcophagus of Monteverde and Jewish Funerary Portraiture in Rome." Images 10, no. 1 (December 14, 2017): 3–22. http://dx.doi.org/10.1163/18718000-12340077.

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Abstract This article examines the evidence for the use of portrait sculpture on sarcophagi belonging to members of the Jewish community of Rome. The use of the “learned figure” motif, commonly employed in Roman sarcophagus portraiture and by Jewish patrons, is highlighted, and possible creative appropriations of the trope in Jewish contexts are raised. It is further argued that, among Jewish sarcophagus patrons, the decision to include funerary portraiture went hand in hand with the decision to adopt popular and conventional Roman styles and motifs, and to engage Roman cultural and visual resources. In other words, Jewish patrons who chose sarcophagi with portraits also seem to have been the readiest to make use of the visual resources of Roman funerary culture to orchestrate self-narratives on their sarcophagi. Finally, it is cautioned that while the limited examples (five) suggest a mastery of Roman culture and a correspondingly high degree of acculturation among certain Jewish patrons, we should be wary of reading such sarcophagi as evidence of certain Jews abandoning a Jewish identity in favor of a Roman one—or the Jewish community in favor of the Roman polis and its civic structures—as narratives of funerary art never capture the totality of the deceased’s identity.

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Bucky, Karen A. "Find Out About Your Work of Art! — Teaching Museum Library Patrons to Fish." Art Documentation: Journal of the Art Libraries Society of North America 26, no. 2 (October 2007): 67–73. http://dx.doi.org/10.1086/adx.26.2.27949471.

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Fortune, B. B. "Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America." Journal of American History 92, no. 4 (March 1, 2006): 1419. http://dx.doi.org/10.2307/4485916.

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Son, SooNa, and Jiyun Yoo. "A Study on Raising Art Fundraiser as a Method of Promoting Art Patronage in Korea." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 787–801. http://dx.doi.org/10.33645/cnc.2023.12.45.12.787.

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Arts organizations in Korea have long been highly dependent on government subsidies. As government funding has steadily reduced, organizations need to find other ways to maintain their artistic activities such as private funding. Consumers should also go beyond their role as audiences and start participate as patrons of art to contribute to foster sustainability. In the process of attracting art patronage, the role of art fundraiser is crucial. Therefore, this study aims to emphasize and deepen the understanding of art fundraiser’s role and responsibility. Based on literature research and in-depth interviews, the study reveals some meaningful suggestions as following; first, most importantly, there must be social consensus to support art. Secondly, the art fundraiser training curriculum should be systemized and specialized considering the nature of fundraising. Lastly, a control-tower collaborating with art fundraisers and related organizations should be established in order to promote legal and institutional improvements.

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Sandle, Doug. "Axis: broadening the constituency and extending the sphere of influence of visual art." Art Libraries Journal 23, no. 2 (1998): 8–11. http://dx.doi.org/10.1017/s0307472200010890.

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The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

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Bourdua, Louise. "Friars, Patrons, and Workshops at the Basilica del Santo, Padua." Studies in Church History 28 (1992): 131–41. http://dx.doi.org/10.1017/s0424208400012420.

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Few incidents in the life of St Francis strike the art historian more than his demolition of the newly constructed chapter-hall in Assisi. As the date of a chapter at S. Maria della Portiuncula was fast approaching and there was no accommodation for the large number of friars expected, the people of Assisi built a house to shelter the incoming friars. Coming across this structure, Francis became so irritated that he climbed the roof and threw down tiles and rafters, and was only stopped when knights interfered and the municipality argued that the building belonged to them. Ironically, this same man had answered God’s call and had repaired the ruined churches of S. Damiano, St Peter, and S. Maria della Portiuncula in Assisi.

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Radke, Gary M. "Nuns and Their Art: The Case of San Zaccaria in Renaissance Venice*." Renaissance Quarterly 54, no. 2 (2001): 430–59. http://dx.doi.org/10.2307/3176783.

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This article discusses the ways in which fifteenth-century nuns financed, shaped and used works of art and architecture at the Benedictine convent of San Zaccaria in Venice. Evidence from chronicles, account books, liturgical manuscripts, reports of visits to the convent, and inscriptions on the works of art themselves shows that the nuns viewed art within their convent extremely proprietarily. While they accepted subsidies from the civic government, indulgences from popes, privileges from Byzantine emperors, and donations from private patrons, the nuns paid close attention to the administration of commissions within the convent church and committed substantial funds to artistic projects, making them their own.

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Mudra, Aleš. "Reliefs depicting the Virgin, founders and patrons from the convent of St. George at Prague Castle." Umění 71, no. 3 (2023): 216–34. http://dx.doi.org/10.54759/art-2023-0301.

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Henle, Alea, Andrea Jaquez, and Hannah Gray. "Visualizing virtual users through art: Usage statistics in outreach and marketing." College & Research Libraries News 79, no. 6 (June 5, 2018): 306. http://dx.doi.org/10.5860/crln.79.6.306.

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Most modern academic libraries have physical and virtual spaces—and patrons. Physical users can be hard to miss, but virtual users often leave only traces behind. It’s all too easy, and misleading, to assess library use based on bodies in chairs. While online resources provide statistics documenting use, these numbers may seem unreal to administrators and funding agencies. Western New Mexico University’s Miller Library designed an art installation, “A Year of Virtual Research,” as a large-scale physical data visualization project to make virtual library use more present and real to the university community.

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Cunningham, Dawn. "Elucidating Opposites." Religion and the Arts 21, no. 3 (2017): 309–34. http://dx.doi.org/10.1163/15685292-02103001.

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A religious diptych provided medieval people with opportunities to access the transcendental and to engage in meditation on spiritual routes to salvation. The binary format of the diptych lent itself to pairings of images that could include oppositions or iconographic contradictions. By manipulating these pairings, artists and patrons could enhance the complexity of the theological messages as well as of the relationship between art and user. Like many Gothic diptychs from Italy, an early-fourteenth-century example by Giotto is comprised of a Crucifixion and a vision of Mary’s heavenly court. The celestial group around the Virgin and child includes seven prominent personifications of the virtues. By properly identifying these moral qualities through comparisons with Giotto’s other works and by examining the oppositions they possibly addressed, we can elucidate some of the spiritual concerns of the original patron(s) who paid for and engaged with this diptych.

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Hansen, Bert, and Richard E. Weisberg. "Louis Pasteur's three artist compatriots—Henner, Pointelin, and Perraud: A story of friendship, science, and art in the 1870s and 1880s." Journal of Medical Biography 25, no. 1 (June 23, 2016): 18–27. http://dx.doi.org/10.1177/0967772015575887.

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Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In a prior article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. The present study documents his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighboring Alsace. A forthcoming study gives an account of his friendships with Max Claudet and Paul Dubois, both of whom made important images of Pasteur, and it offers further illustrations of his devotion to the fine arts.

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Woodcock, Philippa. "The French Counter-Reformation." Church History and Religious Culture 94, no. 1 (2014): 22–49. http://dx.doi.org/10.1163/18712428-09401004.

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This article discusses the redecoration of the rural French parish church in the French diocese of Le Mans from 1620–1688. Scholars have argued that the diocese’s prolific commissions of terracotta statues and retables represented the impact of the Council of Trent’s drive to educate the clergy and instill in them a sense of connoisseurship; the clergy led the diocese as patrons. Yet, these works of art are also quite particular to the region, suggesting that other factors were responsible for their proliferation. This article examines the statues and retable of St-Léonard-des-Bois, commissioned in c. 1630 and 1684. Using previously unavailable archival material, it proposes two new patrons for these commissions, and reconsiders the motives for clerical and secular leadership in this rural parish. It demonstrates that the rural world was not isolated and it is significant that both patrons came from beyond the parish. The article evaluates the influence upon the statues and retable of the centralising ‘Counter-Reformation’ and local factors such as geography, regional traditions, and local events. It argues that the rural Counter-Reformation had a paradoxical identity. It belonged to wider currents in Catholic Reform, and in the case of St-Léonard, was driven by two patrons determined to create a new position for themselves. However, as both of these commissions were accepted by the church’s fabrique, it is evident that subject choices persistently reflected older traditions, and images responded to very local circumstances.

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Kelly, Catherine E. "Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America (review)." Early American Literature 41, no. 3 (2006): 583–87. http://dx.doi.org/10.1353/eal.2006.0039.

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Rather, Susan. "Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America (review)." Eighteenth-Century Studies 39, no. 4 (2006): 564–68. http://dx.doi.org/10.1353/ecs.2006.0028.

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Cappellini, Patrizia. "Trading Old Masters in Florence 1890–1914: heritage protection and the Florentine art trade in Post-Unification Italy." Journal of the History of Collections 31, no. 2 (October 13, 2018): 363–71. http://dx.doi.org/10.1093/jhc/fhy030.

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Abstract Between 1855 and 1873 many religious orders were abolished in Italy and the contents of convents, monasteries and churches found their way on to the art market. Meanwhile, economic troubles led many noble families to sell their estates, a situation that lasted until World War i. Focusing on the Florentine art market from 1890 to 1914, this paper seeks to shed new light on the roles of some Florentine merchants and their relationships with British antique dealers and German patrons and scholars (such as Wilhelm von Bode). It also reviews the evidence – anecdotal, archival and published – relating to the dealers in question.

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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.

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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.

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Rutter, Emily Ruth. "Black Gazes and White Liberals in Langston Hughes’s “Slave on the Block” and Claudia Rankine’s The White Card." Langston Hughes Review 29, no. 1 (March 2023): 8–28. http://dx.doi.org/10.5325/langhughrevi.29.1.0008.

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ABSTRACT While scant critical attention has been paid to the thematic resonances between Langston Hughes and Claudia Rankine, they share a keen interest in using the power of the pen to expose and estrange white liberal hypocrisy. This article further establishes these resonances by placing Hughes’s short story “Slave on the Block,” from The Ways of White Folks (1934), in conversation with Rankine’s one-act play The White Card (2019). Reading Hughes and Rankine in tandem illuminates a decades-long concern with the role white patrons of Black art play in reifying racist narratives and contributing to, rather than dismantling, white hegemony. Utilizing what Tina Campt theorizes as a Black gaze, Hughes and Rankine, this article argues, encourage their white liberal audiences to take responsibility for their own patterns of exploitation and dehumanization within the world of Black art and culture and well beyond it.

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Zolberg, Vera L. "OUTSIDER ART: FROM THE MARGINS TO THE CENTER?" Sociologia & Antropologia 5, no. 2 (August 2015): 501–14. http://dx.doi.org/10.1590/2238-38752015v527.

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Abstract The world of fine arts enacted by the absolutist monarch, Louis XIV, served as a model for many other nations by setting the hierarchy of genres, rules of art that guided the demands of patrons, the criteria of quality for at least two centuries. This cultural structure was the basis for educating aspiring artists to feed the tastes of successive generations of clients. But with political, economic, social transformations, its centrality was increasingly challenged by modernizing forces. A single hierarchy became inadequate for the multiplication of status seeking groups. New institutions welcomed diverse forms, sought them out in unusual places. The single minded academic system has given way to the revaluation of the most marginal of all creators, the naïf, the non-western, the mad. The narrow vision of the salon has been succeeded by the global biennal.

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Moore McAllen, Katherine. "Jesuit Winemaking and Art Production in Northern New Spain." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 294–314. http://dx.doi.org/10.1163/22141332-00602006.

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This article presents new research on Jesuit visual culture in northern New Spain, situating Santa María de las Parras (founded 1598) as an important site where the Jesuits and secular landowners became involved in the lucrative business of winemaking. Viticulture in Parras helped transform this mission settlement into a thriving center of consumption. The Jesuits fostered alliances with Spanish and Tlaxcalan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. This financial support allowed the Society to purchase paintings by prominent artists in Mexico City and import them to Parras. The Jesuits arranged their chapels in a carefully ordered sequencing of images that promoted Ignatian spirituality and echoed iconographic decoration programs in Mexico City and Rome.

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Liros, Alex. "[no title]." Art Libraries Journal 17, no. 1 (1992): 20–21. http://dx.doi.org/10.1017/s0307472200007586.

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I work three days a week for the North York Public Library Board: one day at the Central Library’s Literature and Fine Arts Department, and two at the York Woods Library, a regional branch with high immigrant use. As a part-time librarian and as an artist focussing on the more traditional aspects of art, drawing and painting, I usually leave library thoughts at the library door. If anything, it’s the patrons themselves who have inspired my art. However, the Fine Arts collection at the Central Library provides me with resource materials to observe and connect what artists in the past have done to what I seek to do now.

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Elsner, Jaś. "Archaeologies and Agendas: Reflections on Late Ancient Jewish Art and Early Christian Art." Journal of Roman Studies 93 (November 2003): 114–28. http://dx.doi.org/10.2307/3184641.

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There are (at least) two ways to approach the history of religious art in Antiquity. One is to study what was going on in the ancient world, to tell the story as they (the subjects of our inquiry) saw it and as they did it. Another is to ask how we know how they saw it and did it. The first might be called ‘history’, the second ‘critical historiography’. Both are crucial to the historical enterprise, and I in no way intend to demean the first by saying that this paper is largely of the second kind. My project is to examine what are the grounds for our assumptions in creating the generalizations of ‘Late Ancient Jewish Art’ and ‘Early Christian Art’ as real categories of visual production in Late Antiquity with specific and discrete audiences and constituencies of patrons and producers. Both fields are venerable, with long historiographies and complex guiding-agendas of the sort that are perhaps inevitable given the kinds of ancestral investments made by scholars and indeed members of the general public (which is to say, also adherents of the two faiths) in both fields. In addition to prising apart the history of some of these investments, I want to question the methodological basis for many of the assumptions about what can rightly be classified under either the heading of ‘Jewish’ art or of ‘early Christian’ art.

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Goffen, Rona. "Renaissance Dreams." Renaissance Quarterly 40, no. 4 (1987): 682–706. http://dx.doi.org/10.2307/2862448.

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Family, marriage, and sex—although it seems to me that the sequence is uncertain—are naturally interrelated in life but not always so in art or, for that matter, in art history. While family and marriage have been much discussed in recent years by historians, they have received very little attention indeed from art historians. Sex, on the other hand, we have always had with us. And while all of one's work is self-referential to some extent, whether one is an artist or an historian of art, it may be that this psychological truth carries a particular danger when one is dealing with matters that are so intimate as family, marriage, and sex. Moreover, there is another issue involved when one is concerned with works of art, at least in the Renaissance or in any period when art was made for patrons, and that is precisely the presence of another psyche in the mixture, in addition to that of the artist himself and that of the historian-observer.

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Ford, Judy Ann. "Art and Identity in the Parish Communities of Late Medieval Kent." Studies in Church History 28 (1992): 225–37. http://dx.doi.org/10.1017/s0424208400012468.

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Historians have long been aware that patronage is a crucial factor in interpreting the social meaning of art. The late Middle Ages knew a variety of patrons, each employing art to communicate different sorts of concern: royal and aristocratic courts emphasized political messages, urban communes created governmental myths, cathedrals and monasteries gave expression to spiritual ideas—and all used art to convey notions of social identity. Recent investigations into the process of choosing and procuring works of art in these contexts have not only added perspective to formal art criticism, they have also deepened our understanding of the groups interested in the creation of art. One area in which questions of patronage could perhaps be better illuminated is the community of the parish. The parish served as the primary religious community for the majority of men and women for most of the Middle Ages. It was complex in composition, involving both laity and clergy, encompassing other religious associations, such as gilds, and including the devout and the indifferent, the orthodox and the dissenters.

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Journal articles on the topic 'Art patrons'

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