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https://camscadiblog.blogspot.com/2012/05/social-status-of-artist-renaissance-and.html
May 19, 2012 · The social status of artists increased during the Renaissance perhaps because of Mercantilism. Driven by mercantilism, more artists were hired by wealthy merchants and nobles to fill their homes with paintings. Because higher class people were commissioning artists, they see the right to have more fame and be more noble in society as well.
https://study.com/academy/lesson/the-status-of-artists-in-renaissance-society.html
Artists carried a special status in Renaissance society. They were respected; they were admired; they were practically worshiped. Can you even imagine what that was like?
http://www.italianrenaissanceresources.com/units/unit-3/essays/the-status-of-artists/
Later in the sixteenth century, a number of artists, Bandinelli and Vasari among them, were knighted. As the century progressed, more artists came from families of fairly high status, including Paris Bordone (whose mother was a noblewoman), Agnolo Bronzino, Benvenuto Cellini, and others. And, as noted above, the privileged background of Sofonisba Anguissola allowed her to study art as a …
https://www.uwgb.edu/malloyk/lecture_6.htm
So, we witness the beginning of a modern dilemma: as artists gain status in the eyes of the social elite, a special class of scholars – historians and critics – is needed to explain the meaning of their work. The artists of the Renaissance had a higher purpose: They wanted to make art means of searching for the meaning of existence.
https://www.bolles.org/uploaded/PDFs/academics/AP_AP/APEuro7._Social_Change_and_Continuity.pdf
The Status of the Artist During the Renaissance, the social status of the artist improved. Artists in the Middle Ages had been viewed as artisans – similar to masons and carpenters. On the other hand, the most talented Renaissance artists became highly paid celebrities. Lorenzo Ghiberti’sFile Size: 253KB
https://courses.lumenlearning.com/suny-arthistory1/chapter/patronage-and-the-status-of-the-artist/
In the Middle Ages and for much of the Renaissance, the artist was seen as someone who worked with his hands. They were considered skilled laborers or artisans. This was something that Renaissance artists fought fiercely against. They wanted, understandably, to be considered as thinkers and innovators.
https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/conception-and-status-artist
The writing of treatises was another aspect of the campaign to improve artistic and social status and, in the mid-sixteenth century, artists themselves not only wrote treatises — Paolo Pino (1548), Anton Francesco Doni (1549), Vasari (1550), Benvenuto Cellini (1560s), Pirro Ligorio (1570s), and Giovanni Paolo Lomazzo (1580s) — but some (Michelangelo through Ascanio Condivi in 1553; …
https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0035.xml
Jun 29, 2015 · Developing the ideal of the “learned painter,” the textual tradition thus developed synchronously to the artist’s changing social status. Whereas in the 16th century most authors were artists or had some link to studio practice, in the 17th century amateur-connoisseurs began to replace them; simultaneously, visual art and its theory were institutionalized in the first academies of art.
http://www.italianrenaissanceresources.com/units/unit-3/essays/the-status-of-art/
Competing for Status 2: Painting versus Sculpture (Paragone)The paragone—a frequently argued debate between partisans of painting and those of sculpture—was an extension of the older question about the relation of art and poetry. Painters noted early on that they were of a station above average workers or artisans since they could wear nice clothes instead of rough smocks or aprons while ...
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