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The art of Renaissance Italy remains arguably the touchstone of Western art. It has produced many of the icons by which we define European culture, and our subsequent view of the role of art and of the artist in society has been profoundly influenced and shaped by the ideas of the period. In this stimulating and controversial book, a bestseller in the author's native Holland, Bram Kempers shows the period as a process of the developing 'professionalization' of the artist. Tracing the history of patronage - successively of the mendicant orders and city-states, the merchant families, the princely and ducal rulers and, finally, the great papal patrons, Julius II, Pius II and Sixtus IV - Kempers follows the story from Sienna to Florence, then to the court of Federico da Montefeltro in Urbino and, ultimately, to the heyday of the papal courts in Rome and the ducal court of Cosimo de Medici in Florence, which witnessed the supremacy of Michelangelo and the birth of the great Florentine Academy. A painter and sociologist at the University of Amsterdam, Dr Kempers shows how the unprecedented - and perhaps unsurpassed - creativity of Renaissance art was born of the dynamics of patronage and professional competition. This bred a fruitful balance between individual originality and social control, and out of a creative alliance of art and power a crowning period in the history of art flourished. With over seventy illustrations, including works from Duccio, Lorenzetti and Simone Martini through to Fra Angelico and Masaccio, Piero della Francesca and Raphael, the book is a major contribution to our understanding of the relationship between art and society. It demonstrates, to scholars and laymen alike, the profound influence of the Renaissance on Western ideas of art over five hundred years.
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Natalie Tedford
reviewed Painting, power, and patronage on July 07, 2019
Painting
Edgar Wind's Pagan Mysteries in the Renaissance, originally published in 1958, is definitely one of the most illuminating books I've encountered on art history.
The major problem with Renaissance art is that if you haven't had a classical education most of it is incomprehensible. Since I've not had a classical education that's always put me off a bit. As Wind points though you need more than just a familiarity with classical mythology. You also need at least a basic grounding in the complexities of the Neo-Platonic philosophies with which that age was so obsessed.
He also points out that even some of the most familiar paintings of the era are widely misunderstood, paintings like Titian's Sacred and Profane Love and Botticelli's Primavera.
The book is absolutely fascinating. He talks at great length about the Three Graces, a popular subject from the classical era right through to the Renaissance. What seems like a simple subject is in fact immensely complex with multiple allegorical meanings. They can represent liberality, the offering, accepting and returning of favours. They can also represent love in a complex Neo-Platonic sense including both physical love and spiritual love and oneness with God. If you look at the many Renaissance examples of this subject there are subtle differences in the positioning and postures of the three figures and these seemingly minor differences conceal important differences in the way various painters (and the philosophers who influenced them) conceived both love and religion.
His chapter on Botticelli's Primavera is exhaustive and revealing.
He also explains some common but major misconceptions. In Titian's Sacred and Profane Love the temptation is to see the clothed figure as representing sacred love but in fact it's the nude figure who represents the higher spiritual form of love.
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