At his third attempt, the young Poussin made it to Rome, where he found an unusual patron who was an obsessive collector and friend of Galileo.
Titian seems to have understood exactly what Vittoria Colonna wanted, and in doing so changed art.
As one of the last true Renaissance men, his artistic and diplomatic careers depended on his patrons – as much as they depended on him.
Most of his paintings before 1829 flopped when shown in Britain, but from the Salon of 1824, his work was highly praised in Paris.
An architect, a sculptor and painter, and a young painter. Add a Pope who wants to be remembered, and this is what happens.
Claimed to have had a constellation of major artists paint for her, what is the truth?What impact did she have on the Renaissance?
The vital relationship between painter and patron, donor, dealer and others. Shown in examples from Rubens, Velázquez, Brett, Renoir and Bonnard.
Paintings aren’t made in an artistic vacuum. Part of the purpose is to please a patron, donor or dealer. Examples from Leonardo, Raphael, Tintoretto.