Patronage and the Social and Cultural Status of the Artist - Papal and Church Patronage in the Seventeenth Century - The glory of God?
3 important questions on Patronage and the Social and Cultural Status of the Artist - Papal and Church Patronage in the Seventeenth Century - The glory of God?
What was the cultural centre of Italy in the seventeenth century and why?
By that time, Florence had lost its position and Rome had become the new cultural centre. This was mainly due to Rome's Baroque Popes, who were interested in reviving Rome with culture during the Catholic Counter-Reformation, in order to restore the power of the Catholic Church. They mainly focused on St. Peter's.
Why was Federico Cornaro's commission to Gian Lorenzo Bernini in 1644 so opportune?
Because Gian Lorenzo Bernini had just lost his status after having his wife's face slashed, so when he got to sculpt The Ecstasy of St. Teresa of Ávila, he got the opportunity for self-promotion and at the same time, a reclamation of his piety. For Cornaro, it was supposed to give rise to his Papacy due to the great status of his chosen artist, but this never happened.
Why did Juan Martínez Montañes alledgly grab onto the opportunity to depict his Christ of Clemency?
After a haunting encounter with a ghostly prostitute, he decided to turn his life around for the better. Even though he was granted very little artistic licence and was told to depict Christ alive at the cross, looking at whomever was praying to him, he managed to create a realistic polychrome wooden sculpture to reclaim his piety and basically to ask for forgiveness.
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