Patronage And Dynasty

This collection of essays offers a thorough study of the patron-artist relationship through the lens of one of early modern Italy’s most powerful and influential historical families. Contributors present a longitudinal study of the della Rovere family’s ascent into Italian nobility. The della Rovere was a family of popes, cardinals, and powerful dukes who financed some of the world’s best-known and greatest artwork. The essays explore the issue of identity and its maintenance, of carving a permanent spot for a family name in a rapidly changing atmosphere. Although these studies depart from art patronage, they uncover how the popes, cardinals, dukes, and signore of the della Rovere family constituted their identity. Originally a nouveau-riche creation of papal nepotism, the della Rovere first populated the ranks of cardinals under the powerful popes Sixtus IV and Julius II. Within the framework of later papal relations, the family negotiated its position within the economy of Italian nobles.

Traces the central role played by aristocratic patronage in the transformation of the city of Rome at the end of antiquity. It moves away from privileging the administrative and institutional developments related to the rise of papal authority as the paramount theme in the city's post-classical history. Instead the focus shifts to the networks of reciprocity between patrons and their dependents. Using material culture and social theory to challenge traditional readings of the textual sources, the volume undermines the teleological picture of ecclesiastical sources such as the Liber Pontificalis, and presents the lay, clerical, and ascetic populations of the city of Rome at the end of antiquity as interacting in a fluid environment of alliance-building and status negotiation. By focusing on the city whose aristocracy is the best documented of any ancient population, the volume makes an important contribution to understanding the role played by elites across the end of antiquity.

Discusses the transformation of Rome in late antiquity and the early Middle Ages.

Introduction. Portraiture, space and concepts of the dynastic family -- Sociable collecting : Caroline of Ansbach, gregarious consort and erudite connoisseur -- Hanoverian courtly patronage in mid-eighteenth -century Britain -- Alternative court culture : the artistic patronage of Frederick, Prince of Wales, and Augusta, Princess of Wales -- Artistic patronage and dynastic alliances : Britain and Hesse Cassel -- The royal image and the British country house.

Written in the popular question-and-answer format, this book examines the beliefs, practices, spirituality and culture of one of the most important families of faith communities, Buddhism.

The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art firmly into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.

Based on an exhaustive and varied study of predominantly unpublished archival material as well as a variety of literary and non-literary sources, this book investigates the relation between patronage, piety and politics in the life and career of one Late Medieval Spain's most intriguing female personalities, Maria De Luna.