지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
DBpia Top 5%동일한 주제분류 기준으로최근 2년간 이용수 순으로 정렬했을 때
해당 논문이 위치하는 상위 비율을 의미합니다.
초록· 키워드
오류제보하기
In the Renaissance period families of governors and merchants competed with each other to patronage the artists and scholars in many city-states, which was the driving force of cultural development at that time. Of those the Medici in Florence was the most typical family and they patronaged many artists for about 200 years. This paper will examine the art patronage of Medici family through six generations and their true purposes.
Cosimo di Medici(l389-1464), who formed the basis of the family, had Ficino, the humanist, study Greek and Roman classics and offered most expenses for the reconstruction of San Lorenzo cathedral. In return for the support, he secured a family burial ground in the cathedral and curved ‘common father of this city’ on the floor. These were for emphasizing the image of his family.
Piero di Medici(l416-1469) was more aggressive than his father, Cosimo di Medici, in image-making of his family. His taste was different from that of his father who preferred simplicity. The Magi’s Procession, which he ordered for his new palace, was the very procession of his family. One of the three Magi from the east is the portrait of his ten-year-old son, and he and his father follows him in it.
Lorenzo il Manifico(l449-1492), who governed Firenze for 28 years from 1464, was the most famous patron. He had both intelligence and sensibility. According to Vasari, he recognized Michelangelo’s talent and patronized him. But the works he patronized were unexpectedly a few, and this shows us the difference between his popularity and reality. He was interested in the collection of antiques rather than the patronage for new artists, and was a mediator who introduced new painters to other patrons in Milan, Rome, etc.. As he had an important effect upon introducing artists to partons, the artists were controlled by his intention and Lorenzo took advantage of this as a political power.
The declining power of the Medici was recovered when Lorenzo’s eldest son Giovanni was elected as a Pope Leo in 1515. He utilized the art in order to recover the authority of his family and to construct the political power. He had Michelangelo build the tombs of his brother, Lorenzo, and his nephew, Giuliano, and had Raffaello paint the achievements of all successive Popes named Leo in Vatican Palace. Moreover, he attempted daring political propagation by making the portraits of successive popes replaced by his own.
The last influential ruler of the Medici, Duke Cosimo I (1519-1574), tried to make political propaganda more extensively and more openly. He made Vasari paint the great history of the Medici family amounting to 42 scenes, and apotheosize himself on the ceiling. The patronage of the Medici in the 15th century was for the art and had a taste of humanism. But in the late 16th century it became an open means of image-making.
The patronage did not result only from the care for the art and scholarship. It was performed for various purposes: the restoration of benefit to the society, a religious sentiment, a pleasure of appreciation, an interest in the art and scholarship, etc.. But the most important purpose was to raise the status of the family and to make political propaganda.
It might be appropriate to call them clients who ordered what they wanted, rather than patrons who supported, encouraged and countenanced a person , institutions, works, and the art.
Cosimo di Medici(l389-1464), who formed the basis of the family, had Ficino, the humanist, study Greek and Roman classics and offered most expenses for the reconstruction of San Lorenzo cathedral. In return for the support, he secured a family burial ground in the cathedral and curved ‘common father of this city’ on the floor. These were for emphasizing the image of his family.
Piero di Medici(l416-1469) was more aggressive than his father, Cosimo di Medici, in image-making of his family. His taste was different from that of his father who preferred simplicity. The Magi’s Procession, which he ordered for his new palace, was the very procession of his family. One of the three Magi from the east is the portrait of his ten-year-old son, and he and his father follows him in it.
Lorenzo il Manifico(l449-1492), who governed Firenze for 28 years from 1464, was the most famous patron. He had both intelligence and sensibility. According to Vasari, he recognized Michelangelo’s talent and patronized him. But the works he patronized were unexpectedly a few, and this shows us the difference between his popularity and reality. He was interested in the collection of antiques rather than the patronage for new artists, and was a mediator who introduced new painters to other patrons in Milan, Rome, etc.. As he had an important effect upon introducing artists to partons, the artists were controlled by his intention and Lorenzo took advantage of this as a political power.
The declining power of the Medici was recovered when Lorenzo’s eldest son Giovanni was elected as a Pope Leo in 1515. He utilized the art in order to recover the authority of his family and to construct the political power. He had Michelangelo build the tombs of his brother, Lorenzo, and his nephew, Giuliano, and had Raffaello paint the achievements of all successive Popes named Leo in Vatican Palace. Moreover, he attempted daring political propagation by making the portraits of successive popes replaced by his own.
The last influential ruler of the Medici, Duke Cosimo I (1519-1574), tried to make political propaganda more extensively and more openly. He made Vasari paint the great history of the Medici family amounting to 42 scenes, and apotheosize himself on the ceiling. The patronage of the Medici in the 15th century was for the art and had a taste of humanism. But in the late 16th century it became an open means of image-making.
The patronage did not result only from the care for the art and scholarship. It was performed for various purposes: the restoration of benefit to the society, a religious sentiment, a pleasure of appreciation, an interest in the art and scholarship, etc.. But the most important purpose was to raise the status of the family and to make political propaganda.
It might be appropriate to call them clients who ordered what they wanted, rather than patrons who supported, encouraged and countenanced a person , institutions, works, and the art.
목차
Ⅰ. 메디치家와 르네상스 미술
Ⅱ. ‘피렌체의 아버지’ 코지모 디 메디치(1389-1464)
Ⅲ. 삐에로 디 메디치(1416-1469)
Ⅳ. 로렌쪼 일 마니피코(1449-1492)
Ⅴ. 메디치家 출신의 교황 레오 10세(1475-1521)
Ⅵ. ‘공화국의 군주’, 공작 코지모 1세(1519-1574)
Ⅶ. 후원자가 작품에 미치는 제약과 영향
Ⅷ. 후원의 정치적인 목적
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
메디치 컬렉션의 자전(autobiography)과 계몽주의 시대의 공공성 : 우피치 미술관을 중심으로
서양미술사학회논문집
2015 .02
-
20세기 미술과 후원 : 미국 모더니즘 정착에 있어서 구겐하임 재단의 역할을 중심으로
서양미술사학회논문집
1994 .12
-
한국전쟁과 가족 이미지: 가족해체와 복원의 사이
미술사연구
2005 .12
-
프라 안젤리코의 ‘성스러운 대화’ : 코지모 데 메디치의 사적인 기도
서양미술사학회논문집
2017 .02
-
美術後援硏究의 方法論에 대한 小考
서양미술사학회논문집
1994 .12
-
상설할인 매장 애고 소비자의 구매성향, 상점속성 중요도 및 정보원 이용 연구
한국의류학회지
1995 .01
-
비너스, 아그리파, 줄리앙 : 루브르 주형제작소와 한국의 미술교육
미술사학
2012 .08
-
소비자의 의류제품별 점포혼합애고행동에 관한 연구
한국의류학회지
2002 .01
-
백화점 주고객층의 쇼핑성향, 점포속성중요도, 자기 이미지에 따른 의복 구매성향
한국의류학회지
1999 .01
-
카트린느 데 메디시의 궁정발레와 정치적 기능
대한무용학회논문집
2010 .01
-
핵심균형모델에 따른 가족여가유형이 청소년의 가족의사소통, 가족기능 및 극복력에 미치는 영향
한국사회체육학회지
2014 .08
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
한국근현대미술사에서 제도에 관한 연구의 검토
한국근현대미술사학
2012 .12
-
서비스 품질이 고객만족과 상점애호도에 미치는 영향에 관한 연구 - 대구지역 백화점 고객을 중심으로 -
한국의류학회지
2005 .01
-
노마디즘 공간적 특성을 적용한 미술대학 공간계획에 관한 연구
한국실내디자인학회 학술대회논문집
2019 .11
-
가족 스포츠참가가 가족건강성 및 행복에 미치는 영향
한국여성체육학회지
2014 .12
-
미술의 공공성을 둘러싼 경합의 위상학 : 일본에서의 미술가·비평가 탄생에 대한 재해석
한국근현대미술사학
2009 .12
-
A Study of an Artist's Self-Development
예술과 미디어
2008 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-017289078