KCI등재
메디치家의 미술후원과 정치적인 목적 = Art Patronage of Medici Family and its Political Purpose
저자
발행기관
학술지명
서양미술사학회논문집(Journal of the Association of Western Art History)
권호사항
발행연도
1994
작성언어
Korean
KDC
609
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
5-32(28쪽)
제공처
소장기관
In the Renaissance period families of governors and merchants competed with each other to patronage the artists and scholars in many city-states, which was the driving force of cultural development at that time. Of those the Medici in Florence was the most typical family and they patronaged many artists for about 200 years. This paper will examine the art patronage of Medici family through six generations and their true purposes.
Cosimo di Medici(l389-1464), who formed the basis of the family, had Ficino, the humanist, study Greek and Roman classics and offered most expenses for the reconstruction of San Lorenzo cathedral. In return for the support, he secured a family burial ground in the cathedral and curved ‘common father of this city’ on the floor. These were for emphasizing the image of his family.
Piero di Medici(l416-1469) was more aggressive than his father, Cosimo di Medici, in image-making of his family. His taste was different from that of his father who preferred simplicity. The Magi’s Procession, which he ordered for his new palace, was the very procession of his family. One of the three Magi from the east is the portrait of his ten-year-old son, and he and his father follows him in it.
Lorenzo il Manifico(l449-1492), who governed Firenze for 28 years from 1464, was the most famous patron. He had both intelligence and sensibility. According to Vasari, he recognized Michelangelo’s talent and patronized him. But the works he patronized were unexpectedly a few, and this shows us the difference between his popularity and reality. He was interested in the collection of antiques rather than the patronage for new artists, and was a mediator who introduced new painters to other patrons in Milan, Rome, etc.. As he had an important effect upon introducing artists to partons, the artists were controlled by his intention and Lorenzo took advantage of this as a political power.
The declining power of the Medici was recovered when Lorenzo’s eldest son Giovanni was elected as a Pope Leo in 1515. He utilized the art in order to recover the authority of his family and to construct the political power. He had Michelangelo build the tombs of his brother, Lorenzo, and his nephew, Giuliano, and had Raffaello paint the achievements of all successive Popes named Leo in Vatican Palace. Moreover, he attempted daring political propagation by making the portraits of successive popes replaced by his own.
The last influential ruler of the Medici, Duke Cosimo I (1519-1574), tried to make political propaganda more extensively and more openly. He made Vasari paint the great history of the Medici family amounting to 42 scenes, and apotheosize himself on the ceiling. The patronage of the Medici in the 15th century was for the art and had a taste of humanism. But in the late 16th century it became an open means of image-making.
The patronage did not result only from the care for the art and scholarship. It was performed for various purposes: the restoration of benefit to the society, a religious sentiment, a pleasure of appreciation, an interest in the art and scholarship, etc.. But the most important purpose was to raise the status of the family and to make political propaganda.
It might be appropriate to call them clients who ordered what they wanted, rather than patrons who supported, encouraged and countenanced a person , institutions, works, and the art.
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