At the Renaissance, art and knowledge were the keys for prestige and power. The quality and the expensive the work of art was represented the wealthy, the power and the taste of the patrons were and in some point gave them the power to adjust the history to the way they like. In the case of the artist was very usual to draw up contracts which specified details of the work of art, normally the patrons used to had an upper hand in this issus but if an artist became very prestigious he was able to be freer with the work itself. Just like now a days when the artist can be “creative” with his work but like at the Renaissance the patron has the last word.
T he Renaissance art wasn’t as didactic as the medieval was, so they used a different graphic language or must I say a language for “illuminated” people, because they were not just showing their taste and power with this works of art, they were demonstrating why they were there , was a matter of social hierarchy.
Now, I compare this with the work of the Mexican artist Enrique Carbajal “Sebastian” who (just like Ghilberti) won a competition about the construction of the Kadoma city (Japan) symbol “the Tsuru”. He defeated 2 of the most prestigious Japanese artists, then he began the construction in his work shop along with his team of workers, in times of the Renaissance Sebastian would be the sculpture master and his team play the part of the assistants, the difference with the renaissance is that the work team are metal specialist and not apprentices or assistants which will turn into masters. Sebastian had specifications for the sculpture as Ghilberti.
Nowadays patrons are philanthropists, and also wealthy people and associations, but instead of power they look for pleasure, expression and unique art pieces.
T he Renaissance art wasn’t as didactic as the medieval was, so they used a different graphic language or must I say a language for “illuminated” people, because they were not just showing their taste and power with this works of art, they were demonstrating why they were there , was a matter of social hierarchy.
Now, I compare this with the work of the Mexican artist Enrique Carbajal “Sebastian” who (just like Ghilberti) won a competition about the construction of the Kadoma city (Japan) symbol “the Tsuru”. He defeated 2 of the most prestigious Japanese artists, then he began the construction in his work shop along with his team of workers, in times of the Renaissance Sebastian would be the sculpture master and his team play the part of the assistants, the difference with the renaissance is that the work team are metal specialist and not apprentices or assistants which will turn into masters. Sebastian had specifications for the sculpture as Ghilberti.
Nowadays patrons are philanthropists, and also wealthy people and associations, but instead of power they look for pleasure, expression and unique art pieces.
So things change but the essence remains
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