Patronage and the Social and Cultural Status of the Artist - Public Patronage in the Fifteenth and Sixteenth Centuries - The importance of guilds and the rise of the 'artist-genius

4 important questions on Patronage and the Social and Cultural Status of the Artist - Public Patronage in the Fifteenth and Sixteenth Centuries - The importance of guilds and the rise of the 'artist-genius

What were the Florentine guilds?

These were secular corporations that controlled the arts and trade and influenced Florence's artistic legacy. During the Renaissance, there were seven major, five middle and nine minor guilds which competed with each other for commissions and subsequently status.

Which two major competitions were set up by guilds and who won them?

In 1401, the Calimala set out a competition to decorate the bronze doors of the Baptistery, which was won by Lorenzo Ghiberti, whereas Filip Brunelleschi won second prize.
In 1418, the Arte della Lana set out a competition to design the Florence Cathedral/Santa Maria del Fiore's new dome, which was won by Filipo Brunelleschi.

What can be considered an example of both civic and religious patronage?

When Michelangelo was asked to construct his David by the Arte della Lana, which was intended for the Santa Maria del Fiore. It was civic because it was commissioned by a guild, but religious because it was meant to decorate the church.
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How did Michelangelo achieve a warrior-like effect in his David?

Even though he could not really use contrapposto because he had been given a pre-carved block of marble, he still managed to give the illusion of distributed weight. His hands are oversized and his facial expression is determined, ready for battle.

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