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Journal articles on the topic 'Art patronage Australia History'

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Published: 10 December 2022
Last updated: 30 January 2023

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1

Anderson, Jaynie. "Rewriting the history of art patronage." Renaissance Studies 10, no. 2 (June 1996): 129–38. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00352.x.

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2

Anderson, Jaynie. "Rewriting the History of Art Patronage." Renaissance Studies 10, no. 2 (June 1996): 129–38. http://dx.doi.org/10.1111/1477-4658.00200.

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3

Macknight, Lorraine. "Politics, Patronage, and Diplomacy." Historical Reflections/Réflexions Historiques 47, no. 1 (March 1, 2021): 59–87. http://dx.doi.org/10.3167/hrrh.2021.470104.

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When a hymnbook is placed outside its more expected hymnological environment and put in a wider contextual framework, particularly a political one with significant diplomatic aspects, a better appreciation is gained of the hymnbook and the circumstances of its compilation. Critically, the complexity and progressive transparency of hymn transmission from one country to another is also revealed. This article focuses on Prussian diplomat Christian Karl Josias von Bunsen and his Gesang-und Gebetbuchs (1833). A primary source for several translators, notably Catherine Winkworth (1827–1878), the hymnbook directly affected the movement of many hymns from Germany to England, Scotland, and Australia.
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4

Soussloff, Catherine M., and Edward L. Goldberg. "Patterns in Late Medici Art Patronage." Art Bulletin 71, no. 4 (December 1989): 697. http://dx.doi.org/10.2307/3051277.

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5

Cohen, Richard I. "Art Patronage and Jewish Culture: Introduction." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 1–2. http://dx.doi.org/10.3828/aj.2020.16.2.

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6

Hein, Laura. "Modern Art Patronage and Democratic Citizenship in Japan." Journal of Asian Studies 69, no. 3 (June 22, 2010): 821–41. http://dx.doi.org/10.1017/s002191181000149x.

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Wakimura Yoshitarō, a prominent Japanese economics professor and art collector, helped establish or sustain at least eight art museums in postwar Japan. He did so to create important institutions of democratic empowerment rather than nationalist displays of power. The crucial context was defeat in World War II, which left many Japanese, including Wakimura, committed to taming capitalism. Wakimura was particularly interested in creating new practices of art appreciation that could mediate relations between potentially antagonistic groups of Japanese, and in building museums as fresh spaces to house these newly egalitarian relationships. He emphasized the value to society created when individuals developed their aesthetic and thus political judgment. His efforts help explain the proliferation of both public and private art museums in postwar Japan as well as the nature of postwar political culture.
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7

ffolliott, Sheila, and Edward L. Goldberg. "After Vasari: History, Art, and Patronage in Late Medici Florence." Sixteenth Century Journal 21, no. 1 (1990): 129. http://dx.doi.org/10.2307/2541152.

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8

Bentley, Jerry H. "Edward L. Goldberg. Patterns in Late Medici Art Patronage." American Historical Review 90, no. 2 (April 1985): 453. http://dx.doi.org/10.2307/1852760.

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9

Long, Jane C., and Louise Bourdua. "The Franciscans and Art Patronage in Late Medieval Italy." Sixteenth Century Journal 36, no. 3 (October 1, 2005): 849. http://dx.doi.org/10.2307/20477510.

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10

Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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11

Strocchia, Sharon. "Art Patronage, Family, and Gender in Renaissance Florence: The Tornabuoni." Journal of Interdisciplinary History 49, no. 4 (March 2019): 665–66. http://dx.doi.org/10.1162/jinh_r_01353.

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12

Kudaibergenova, Diana T. "Art and Protest in Kazakhstan." Current History 121, no. 837 (October 1, 2022): 271–76. http://dx.doi.org/10.1525/curh.2022.121.837.271.

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Recent events in Kazakhstan show that political art has the potential to be a potent form of protest in some of the most authoritarian states in contemporary Central Asia. After the collapse of the Soviet Union, artists in Kazakhstan and elsewhere in the region began turning away from the canon of Socialist Realist art, with its sole aim of serving the regime and depicting its visions of the future. New forms of contemporary art emerged, drawing sharp contrasts with official art in form, content, and culture, as more artists insisted on freedom from state patronage and control. In the political upheaval following the resignation of long-ruling President Nursultan Nazarbayev, artists have inspired protests with pointed critiques.
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13

Lenman, Robin. "PAINTERS, PATRONAGE AND THE ART MARKET IN GERMANY 1850–1914." Past and Present 123, no. 1 (1989): 109–40. http://dx.doi.org/10.1093/past/123.1.109.

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14

Prokop, Ellen. "Digital Art History for the Masses? The Role of the Public Digital Art History Lab." Život umjetnosti, no. 105 (December 31, 2019): 196–213. http://dx.doi.org/10.31664/zu.2019.105.09.

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Digital Art History (DAH), which embraces massive datasets, innovative methodologies based on computational techniques, and collaborative paradigms, promises to offer new perspectives on the history of art. For example, DAH has the potential to shift the discipline’s focus from the traditional topics of inquiry to less explored aspects of the field—in short, to reposition the discipline’s central preoccupations with the issues of patronage, which are the concerns of the elite, to broader structures at work in a society, including the experiences of the marginalized. This displacement from center to periphery is not restricted to DAH research questions, but often applies to other aspects of DAH as well: to its status within the Digital Humanities (DH); to the demographic it frequently attracts; and to the infrastructure(s) developed to support it. Yet despite this potential, in many respects DAH occupies the periphery. This essay problematizes these issues as crystallized by the establishment of a digital art history lab at a privately funded library that serves the public, and explores one instance of how DAH has forced the North American academy to reflect further on the issues of privilege, access, and the future of art history.
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15

Binski, P. "Women, Art and Patronage: From Henry III to Edward III (1216-1377)." English Historical Review 118, no. 478 (September 1, 2003): 1046–47. http://dx.doi.org/10.1093/ehr/118.478.1046.

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16

Aynutdinov, A. S. "Sverdlovsk Art and Cultural Patronage of the Red Army: Prehistory of Relations and the Process in the Post-War Period (1946–1952)." Art & Culture Studies, no. 2 (June 2021): 386–405. http://dx.doi.org/10.51678/2226-0072-2021-2-386-405.

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The topic of interaction between artists and the armed forces of the USSR before the Great Patriotic War and after it is a subject of study for historians, cultural scientists, philologists, theater critics, film critics, art historians. Nevertheless, the visual art of Sverdlovsk in the aspect of analysis and description of cultural and patronage relations of artists with the Red Army has never been the object of special study. The proposed article is, in fact, one of the first, if not the only scientific work to date, based on the introduction to the practice of domestic art studies, the history of Soviet art, information and data on the emergence and development of contacts between artists of Sverdlovsk and military personnel in the framework of patronage of the creative intelligentsia of the Red Army in 1946–1952. The period of the 1920–1930s is considered also on the basis of archival documents, making outlines of the more accurate data on patronage ties between RABIS, the Organizing Committee of the Union of Artists Sverdlovsk branch and the Soviet military personnel in the Ural military district.
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17

BOCK, NICOLAS. "PATRONAGE, STANDARDS ANDTRANSFERT CULTUREL: NAPLES BETWEEN ART HISTORY AND SOCIAL SCIENCE THEORY." Art History 31, no. 4 (September 2008): 574–97. http://dx.doi.org/10.1111/j.1467-8365.2008.00630.x.

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18

Tanner, Jeremy. "Portraits, Power, and Patronage in the Late Roman Republic." Journal of Roman Studies 90 (November 2000): 18–50. http://dx.doi.org/10.2307/300199.

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Recent work in ancient art history has sought to move beyond formalist interpretations of works of art to a concern to understand ancient images in terms of a broader cultural, political, and historical context. In the study of late Republican portraiture, traditional explanations of the origins of verism in terms of antecedent influences — Hellenistic realism, Egyptian realism, ancestral imagines — have been replaced by a concern to interpret portraits as signs functioning in a determinate historical and political context which serves to explain their particular visual patterning. In this paper I argue that, whilst these new perspectives have considerably enhanced our understanding of the forms and meanings of late Republican portraits, they are still flawed by a failure to establish a clear conception of the social functions of art. I develop an account of portraits which shifts the interpretative emphasis from art as object to art as a medium of socio-cultural action. Such a shift in analytic perspective places art firmly at the centre of our understanding of ancient societies, by snowing that art is not merely a social product or a symbol of power relationships, but also serves to construct relationships of power and solidarity in a way in which other cultural forms cannot, and thereby transforms those relationships with determinate consequences.
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19

Mann, Vivian, and Daniel Chazin. "Printing, Patronage and Prayer: Art Historical Issues in Three Responsa." IMAGES 1, no. 1 (2007): 91–97. http://dx.doi.org/10.1163/187180007782347557.

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Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.
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20

Sopo, Elina. "A Forgotten Legacy: The Romanov Patronage of Finland’s Early Art Collections." European Legacy 21, no. 3 (February 5, 2016): 310–23. http://dx.doi.org/10.1080/10848770.2016.1140399.

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21

Clark, J. G. "The Art and Architecture of English Benedictine Monasteries, 1300-1540: A Patronage History." English Historical Review CXXII, no. 496 (April 1, 2007): 473–75. http://dx.doi.org/10.1093/ehr/cem015.

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22

Feyzi, Ahmet, and Hasan Tahsin Sümbüllü. "Relationship between patronage and music a case study for the Ottoman archive documents." Journal of Human Sciences 16, no. 4 (December 22, 2019): 1038–50. http://dx.doi.org/10.14687/jhs.v16i4.5882.

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This research focuses on art patronage and artist patronage in Turkish music culture in general and tries to provide an overview of Ottoman archival documents on the subject of patronage applied both to public and non-public musicians throughout the history of Turkish music. The subject of patronage, which is of great importance in the development of the art of music in Turkish history, has been handled within the scope of the research and archive documents regarding the reflection of the patronage practice in the history of music have been gathered together. Based on these documents; firstly, it has been tried to clarify which practices are made within the scope of patronage in the history of Turkish music. In addition, the musicians people or groups who undertook the benefit of this application, what kind of benefit from this phenomenon of the artist benefiting from the patronage of this phenomenon, the patronage-artist relationship in the name of these practices made on behalf of the patronage of musicians practices in the process of professionalization of the process of professionalization and how it affected socioeconomic aspects of the related musicians thanks to the practices made, how the practices related to the patronage of musicians made during the Ottoman period were transferred to the Republican period, and to what extent the patronage was reflected in the Ottoman written literature. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Bu araştırma, genel anlamda Türk müzik kültüründe sanat hamiliği ve sanatçı patronajı üzerine odaklanmakta ve özelde ise Türk müziği tarihi içerisindeki gerek kamusal anlamda gerekse kamusal alan dışından musikişinaslar için uygulanan himaye konusu ile ilgili Osmanlı arşiv evraklarının genel bir değerlendirmesini ortaya koymaya çalışmaktadır. Türk tarihi içerisinde müzik sanatının gelişiminde büyük öneme haiz olan patronaj konusu araştırma kapsamında ele alınmış ve patronaj uygulamasının müzik tarihi içerisindeki yansıması ile ilgili arşiv evrakları bir araya toparlanmıştır. Bu evraklar esas alınarak; öncelikli olarak Türk müziği tarihi içerisindeki patronaj kapsamında hangi uygulamaların yapıldığı konusu aydınlatılmaya çalışılmıştır. Ayrıca musikişinas hamiliği üstlenen kişi veya gurupların bu uygulamadan ne türlü bir fayda sağladığı, patronaj olgusundan faydalanan sanatçının bu olgudan hangi yönlü maddi veya manevi kazanım elde ettiği, hamilik adına yapılan bu uygulamalarda hami-sanatçı ilişkisinin ne şekilde yürüdüğü, musikişinas hamiliği kapsamında yapılan uygulamaların meslekleşme sürecini ne şekilde etkilediği, yapılan uygulamalar sayesinde ilgili musikişinasların sosyoekonomik yönden nasıl etkilediği, Osmanlı döneminde yapılan musikişinas patronajına ilişkin uygulamaların Cumhuriyet dönemine ne şekilde aktarıldığı, patronaj konusunun Osmanlı yazılı yayın literatürüne ne derecede yansıdığı konuları hakkında ise genel bir durum değerlendirmesi yapılmıştır.
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23

Speck, Catherine. "Camouflage Australia: Art, Nature, Science and War." Australian Historical Studies 44, no. 1 (March 2013): 162–63. http://dx.doi.org/10.1080/1031461x.2013.761649.

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24

Açikyildiz, Birgül. "Ideology, Nationalism, and Architecture: Representations of Kurdish Sites in Turkish Art Historiography." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 323–53. http://dx.doi.org/10.1386/ijia_00082_1.

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This article discusses how the narrative of Turkish national historiography, crafted by Turkish elites in the 1930s in light of the official doctrine of the Turkish History Thesis and the Sun Language Thesis, attempted to Turkify the patronage of historical buildings constructed by diverse ethnic and religious communities of the country’s eastern region. I focus on the architectural production of the seven Kurdish dynasties that ruled a large area in the Middle East from the tenth to the mid-nineteenth century. Kurdish rulers constructed a large number of urban monuments bearing their names. These sites were appropriated into the Turkish national historiography in a denial of their Kurdish origins. This approach to history has rendered Kurdish material culture all but invisible, pushing the understanding of Kurdish architectural patronage and identity to the academic margins. This study aims to develop an alternative approach to the history of urban and architectural production in eastern and south-eastern Turkey, and opens a discussion for a definition of Kurdish art and architecture.
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25

Gomes, Paulo Varela. "Review: Art and Patronage in Eighteenth-Century Portugal by Angela Delaforce." Journal of the Society of Architectural Historians 62, no. 1 (March 1, 2003): 159–61. http://dx.doi.org/10.2307/3655105.

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26

Drakopoulou, Eugenia. "Review of: Carol M. Richardson, Kim W. Woods and Michael W. Franklin (eds), Renaissance Art Reconsidered: An Anthology of Primar y Sources,." Historical Review/La Revue Historique 13 (February 24, 2017): 156. http://dx.doi.org/10.12681/hr.11562.

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The title of this volume refers to the course of the Open University entitled Renaissance Art Reconsidered and more particularly to its three course books, which reflect three reference fields in the modern history of art: the method and arduous work of making works of art; the centres of art production, the trade networks and the relations between artists and clients; and the means of viewing art, whether in the context of religious practice, theory or patronage, during the fifteenth and early sixteenth centuries.
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27

Bourdua, Louise. "Balsdon Fellowship: ‘Before and after Giotto.’ Art and patronage in Padua." Papers of the British School at Rome 74 (November 2006): 371–72. http://dx.doi.org/10.1017/s0068246200003317.

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28

Baker, Zachary M. "Art Patronage and Philistinism in Argentina: Maurycy Minkowski in Buenos Aires, 1930." Shofar: An Interdisciplinary Journal of Jewish Studies 19, no. 3 (2001): 107–19. http://dx.doi.org/10.1353/sho.2001.0007.

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29

Starn, Randolph, and Pamela M. Jones. "Federico Borromeo and the Ambrosiana: Art Patronage and Reform in Seventeenth-Century Milan." American Historical Review 99, no. 4 (October 1994): 1353. http://dx.doi.org/10.2307/2168879.

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30

Britton, Piers D., and Lilian H. Zirpolo. "Ave Papa, Ave Papabile: The Sacchetti Family, Their Art Patronage, and Political Aspirations." Sixteenth Century Journal 37, no. 3 (October 1, 2006): 816. http://dx.doi.org/10.2307/20478028.

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31

Worthen, Thomas, Eckart Marchand, and Alison Wright. "With and without the Medici: Studies in Tuscan Art and Patronage 1434-1530." Sixteenth Century Journal 31, no. 2 (2000): 475. http://dx.doi.org/10.2307/2671628.

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32

Christianson, Frank. "Francesca Sawaya.The Difficult Art of Giving: Patronage, Philanthropy, and the American Literary Market." American Historical Review 121, no. 1 (February 2016): 248–49. http://dx.doi.org/10.1093/ahr/121.1.248.

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33

Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.

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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.
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34

Robson, Roy. "Art and Politics at the Vatican Congregation for the Oriental Churches, 1917-45." Russian History 38, no. 1 (2011): 42–57. http://dx.doi.org/10.1163/187633111x549597.

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AbstractIn the period 1917-45, the Roman Catholic Church vacillated in its views of Russian Orthodoxy and the Russian Revolution. Some forces in the Vatican focused on the “consecration” of Russia, connoting support for Orthodoxy. Others preferred to push for the “conversion” of Russia to Roman Catholicism. The tension between these competing views can be seen in the Vatican's patronage of the arts. From 1925-1945, the Congregation for the Oriental Churches commissioned works by four artists—Leonid and Rimma Brailowski, Pimen Sofronov, and Jérôme Leussink. Collectively, their work illustrated the changing mixture of politics, piety, and aesthetics that characterized Rome's view toward Russia in the first half of the twentieth century.
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35

Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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36

Freestone, Robert, and Alan Hutchings. "Planning history in Australia: The state of the art." Planning Perspectives 8, no. 1 (January 1993): 72–91. http://dx.doi.org/10.1080/02665439308725764.

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37

Clark, John. "Asian Art History in Australia: Its Functions and Audience." Australian and New Zealand Journal of Art 16, no. 2 (July 2, 2016): 202–17. http://dx.doi.org/10.1080/14434318.2016.1237929.

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38

Anderson, Carrie. "Material Mediators: Johan Maurits, Textiles, and the Art of Diplomatic Exchange." Journal of Early Modern History 20, no. 1 (January 26, 2016): 63–85. http://dx.doi.org/10.1163/15700658-12342489.

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Although textiles were key facilitators in global diplomacy in the early modern period, there has been little scholarly consideration of the dynamic role they played in shaping diplomatic relationships during a time when textiles of all types from both east and west were circulating actively as wholesale commodities across world markets. This case study addresses this lacuna by examining the role that textiles, including linens, silks, and tapestries, played in mediating the inter- and intra-cultural diplomatic negotiations of Johan Maurits of Nassau-Siegen (1604-1679), the governor-general of Dutch Brazil from 1637 to 1644. As I argue, the production and dissemination of objects such as linens and especially the Old Indies tapestry series, based on designs made under Johan Maurits’s patronage, demonstrate how textiles, in their many forms and formats, were uniquely suited to negotiate the dynamic shifts that characterized cross-cultural diplomacy in the early modern period.
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McIver, Katherine A., and Jill Caskey. "Art and Patronage in the Medieval Mediterranean: Merchant Culture in the Region of Amalfi." Sixteenth Century Journal 37, no. 2 (July 1, 2006): 481. http://dx.doi.org/10.2307/20477875.

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40

Beech, Dave. "Art and the Politics of Eliminating Handicraft." Historical Materialism 27, no. 1 (March 29, 2019): 155–81. http://dx.doi.org/10.1163/1569206x-00001554.

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Abstract This essay charts the outlines of the historical transition from the artisanal workshop to the artist’s studio and the transition from the artisan to the artist, not through the transition from patronage to the art market but through an analysis of the transformation of labour’s social division of labour. The essay reassesses the discourses on the artist as genius and the artist as worker through a reinterpretation of the elevation of the Fine Arts above handicraft. This sheds new light, also, on the discourse of deskilling in art. This essay argues that the transition from the artisan to the artist is an effect of the social division of labour in which the knowledge, skills and privileges of the master artisan are distributed among a set of specialists.
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41

Watt, David. "‘Art and Working Life’: Australian Trade Unions and the Theatre." New Theatre Quarterly 6, no. 22 (May 1990): 162–73. http://dx.doi.org/10.1017/s0266464x00004231.

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In the feature on Australian theatre in NTQ5 (1986). Peter Fitzpatrick pointed to a burgeoning community theatre movement, made possible by the shifts in arts funding which were the subject of Graham Ley's interview with Malcolm Blaylock in the same issue – while Tom Burvill's article on Sidetrack Theatre described one of the emergent companies. His concentration on Sidetrack's workplace shows, and on Loco in particular, highlighted an area in which the community theatre movement had made some strides in the construction of a popular political theatre. These have been achieved since the Australia Council – the antipodean equivalent of the Arts Council of Great Britain – introduced its Art and Working Life Incentive Programme, designed to foster arts activities within the trade union movement, in 1982. David Watt, who teaches Drama at Newcastle University, here offers a report on a developing relationship between theatre companies and the union movement, with particular reference to two companies which have been most closely associated with the programme, and places their work in the industrial contexts of state patronage and the trade union movement.
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42

Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.

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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.
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Liu, Heping. ""The Water Mill" and Northern Song Imperial Patronage of Art, Commerce, and Science." Art Bulletin 84, no. 4 (December 2002): 566. http://dx.doi.org/10.2307/3177285.

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44

Melion, Walter S., Pamela M. Jones, and Clare Robertson. "Federico Borromeo and the Ambrosiana: Art Patronage and Reform in 17th-Century Milan." Art Bulletin 77, no. 2 (June 1995): 324. http://dx.doi.org/10.2307/3046105.

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45

Sohm, Philip. "Gendered Style in Italian Art Criticism from Michelangelo to Malvasia*." Renaissance Quarterly 48, no. 4 (1995): 759–808. http://dx.doi.org/10.2307/2863424.

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Did the concept of style have gender? Were the styles of particular Renaissance painters considered to have gendered qualities by contemporary critics? Because gender permeated the rhetorical and philological foundations of art criticism, it can provide a useful interpretive lens to examine the critical arsenal of writers on art, their attitudes toward style and the subterranean bias of their language. Feminist art history has grappled with gender more in terms of iconography, biography, or patronage following a social agenda to analyze a misogynist past and to remedy the marginalization of women in modern art historiography. An exceptional study by Elizabeth Cropper in 1976 broached the question of gender in aesthetics by reconstituting a complex history of love and beauty that converged in treatises on beautiful women.
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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Timmermann, Achim. "The ship in the shop: An art history of late medieval ship models." International Journal of Maritime History 33, no. 2 (May 2021): 257–88. http://dx.doi.org/10.1177/08438714211013534.

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This contribution represents an attempt at a first outline of an art history of late medieval ship models and their contexts of use. Focusing on the mid-thirteenth through early sixteenth centuries, an age of rapidly expanding horizons, this study examines the design and role of miniature vessels at the intersection between devotional practices, courtly culture, modes of patronage and technological change. It explores three categories of ship models in particular: ex-voto ships that were presented to a specific shrine after a miraculous rescue at sea or naval victory; nefs, which served as princely table decorations and containers of commodities such as salt and spices; and nefs that, subsequent to their use as banqueting props, were repurposed as devotional vessels that either contained relics or possibly functioned as ex-votos.
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Năstăsoiu, Dragoş Gh. "Royal Saints, Artistic Patronage, and Self-representation among Hungarian Noblemen." Vestnik of Saint Petersburg University. History 66, no. 3 (2021): 810–27. http://dx.doi.org/10.21638/11701/spbu02.2021.308.

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During the 1401–1403 political crisis in the Kingdom of Hungary, the magnates who were hostile to the ruling King Sigismund of Luxemburg and supported instead the Angevin King Ladislas of Naples deployed a wide range of propaganda tools for proving the legitimacy of their political cause. In a previous study published in this journal (Vestnik of SPbSU. History, 2021, vol. 66, issue 1, рp. 179–192), I have focused on the Hungarian noblemen’s anti-royal propaganda through the utilizing of political and spiritual symbols (i. e., the Holy Crown of Hungary and the cult, relics, and visual representations of St. Ladislas), symbolic actions (coronations and oath-swearing on holy relics), and heraldic self-representation (the Árpádian double cross). The present study approaches the same topic of anti-royal propaganda in the troubled political context of the early 15th century, but from the perspective of the elites’ self-representation strategies via the cult of Hungarian royal saints, artistic patronage, and heraldic self-representation. The two leaders of the anti-royal movement, Archbishop of Esztergom John Kanizsai and Palatine of Hungary Detre Bebek, repeatedly commissioned works of art (i.e., seals, stained-glass windows, and wall paintings) which featured prominently the images of the three Holy Kings of Hungary (Sts Stephen, Emeric, and Ladislas) or displayed the realm’s coat of arms (the Árpádian two-barred cross). The reliance of John Kanizsai and Detre Bebek on the cults and images of the patron saints of the country blended harmoniously the commissioners’ personal piety with their political ambitions. In the context of the early-15th century political crisis, the appropriation of the ideal figures of the sancti reges Hungariae became the driving force behind the Hungarian noblemen’s political cause.
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Gordon, Scott Paul. "Martial Art: Benjamin West's "The Death of Socrates," Colonial Politics, and the Puzzles of Patronage." William and Mary Quarterly 65, no. 1 (January 1, 2008): 65. http://dx.doi.org/10.2307/25096770.

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Clark, Ian D. "Rock art sites in Victoria, Australia: a management history framework." Tourism Management 23, no. 5 (October 2002): 455–64. http://dx.doi.org/10.1016/s0261-5177(02)00011-0.

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