Introduction
The work of a patron in painting, sculptures, and architecture is a great function in the development and design of art. The patrons are not just the consumers of art, but the best initiators are mostly having a fundamental command in the content and form of art. As such, patronage functions are proof that any art is an origin of its own design rather than wealth, status, or power.
Painting: The Duccio, Virgin, and Child Enthroned with Saints, Maesta, 1308-1311
Sienesegoverement,Duccio di Buoninsegna, 1308-131, Duccio, Virgin and Child Enthroned with Saints, Maesta, Tempera and gold on wood, dimensions: 213 cm × 396 cm (84 in × 156 in).
The patron was motivated by the need to have all high officers and citizens to honor Christianity. In this course, the patron was responsible for formalized contracts for designing the materials, dimensions, and stipulated costs. As such, much regard is given to artistic participation in the content of the Maestà, or Maestà of Duccioart piece. The patron’s responsibility is best illustrated in the outcome of the sketch and color retained in the paint.
Sculpture: Saint Pierre, Moissac, south Portal, CA 1115-1135
Etienne de bage commissioned sculptor Gislebertus, 1050-1057, Interior of Saint Etienne, Vignory, France.
It is clear that the patron valued a deep sense of pilgrimage in the photo as well as religion, not to mention the ecclesiastical buildings remodeled to have an expression of Christian-like relief. On the other hand, the secular and religious factors retained in the sculpture portray the patron’s attitude to other residents it the society. The reflection of the largest Romanesque church in Europe unveils the patron’s position for an effective cause.
Architecture: The Basilica of Sant’Ambrogio (St. Ambrose)
King Louis vii and Suger, Milan, Italy, the year 1099, Architectural style – Romanesque, National monument, Affiliation-Roman Catholic.
The artistic architecture is amazing with the best portrayal of that time and the economic code, capitalism. This fact coins the idea that this is the best social diffusion, as reflected by the patron’s use of material and durable goods. The character that the patron feels ought to be exposed, such as extravagance and temporary decoration, are displayed in the architecture.
Conclusion
The impact of a patron in any art is seen in the religious practices that are expressed in the world today. As such, the patron reflects in the art the current values that mean to move one’s spirit like meditation.
Question 2
France dominance in Both Romanesque and Gothic Styles.
France reserves much pride among the first players in the art industry, dating back to the 100 AD. Their inclination to Romanesque and Gothic styles is unending. At this period, the styles were the first to be used and mostly among the Catholics in Europe. Since France had a strong Christian background at that time, all the architectural arts were designed using this style. Romanesque art also received an increasing command from southern France.
In addition, the art was largely promoted by Byzantine art, who were taking part in painting and decorations of many Isles like the insular art. An Architect can choose to use the future instead of the past and present. Gothic styles have their designation in France from 1140 to 1500, following the need to attach elements of the structure of buildings such as San Denis.