1990 Fiscal Year Final Research Report Summary
Art and Patronage : Official Art in the Art History
| Project/Area Number |
01301007
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| Research Category |
Grant-in-Aid for Co-operative Research (A)
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| Allocation Type | Single-year Grants |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | Yamagata University |
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Principal Investigator |
SHISHIDO Tadashi Fac. of Literature &Social Science Yamagata Univ. Professor, 人文学部, 教授 (10006835)
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| Co-Investigator(Kenkyū-buntansha) |
MORI Michiko Fac. of Liberal Arts Tohoku Gakuin Univ. Associate Professor, 教養学部, 助教授 (40142898)
MORI Masahiko Fac. of Literature & Science Miyagi Women'S College Associate Professor, 学芸学部, 助教授 (90137612)
MOTOKI Koichi Fac. of General Education Yamagata Univ. Associate Professor, 教養部, 助教授 (10125669)
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| Project Period (FY) |
1989 – 1990
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| Keywords | Patronage / Official Art / Civic Art / Court Art / Art Politics |
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| Research Abstract |
This study has examined the role of the official patronage from the late middle ages to 19th century and tried to clarify its developments.
In the middle ages, the character of official art does not seem so clear. Observing diverse functions of court portraitures in the late middle ages, Motoki points out the ambiguity of official art in this age and his research leads us to interpret it as a 'politico-cultural apparatus'. However, this apparatus was gradually crystallized with a modern character. Thus official art in modern sense was probably formed in the Renaissance. Shishido sees Renaissance Italy as a "patronage society" (guild/city-state system) and clarified its characteristics, particularly exploring the works of art in Florence and Siena. With the birth of absolutist nations in the Baroque period, official art strengthened its propaganda function as a machine of power. As Michiko Mori has clarified, allegory was the most useful way to heighten power. She tried also to explain why even non-allegorical king's portraits by Velasquez could function as a symbol of a sovereign power. In modern times, official art becomes a vehicle of ideology. Masahiko Mori examines the political function of the official art in 19th century France, particularly emphasizing its ideological characters.
Through these case studies, the general development and function of official art can be understand.
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