From Guilds to Academies: The Changing Status of the Artist

 

Seminar questions

1. To what extent does Burckhardt’s Renaissance individual correspond to Vasari biographies of artists?

 

2. How much the way in which artists were perceived changed in European societies during the early modern period?

 

3. Were academies fundamental in raising the status of artists?

 

4. How far was the sixteenth-century artist free from guild restrictions?

 

 

Suggested reading

Ackerman, James S., ‘On the Origins of Art History and Criticism’, in Idem, Origin, Imitations, Conventions, Cambridge (Mass.)-London 2002, ch. 1 [xeroxes]

 

Ames-Lewis, Francis, The Intellectual Life of the Early Renaissance Artist, New Haven-London 2000 [N 6370.A6]

 

Barker, Emma - Webb, Nick - Wood, Kim (eds.), The Changing Status of the Artist, New Haven-London 1999 [N 6915.C4]

 

Clifton, James, ‘Vasari on Competition’, Sixteenth Century Journal, 27 (1996), pp 23-41 [Jstor]

 

Goldstein, Carl, Teaching Art: Academies and Schools from Vasari to Albers, Cambridge 1996, chs. 1-2 [N 85.G6]

 

Hughes, Anthony, Michelangelo, London 1997 [NB 623.M4]

 

Jack, Mary Ann, ‘The Accademia del Disegno in Late Renaissance Florence’, Sixteenth Century Journal, 7 (1976), pp. 3-20 [Jstor]

 

Kempers, Bram, Painting, Power and Patronage. The Rise of the Professional Artist in Renaissance Italy, London 1994 [ND 615.K3]

 

Kris, Ernst – Kurz, Otto, Legend, Myth and Magic in the Image of the Artist: A Historical Experiment, New Haven-London 1979 [N71.K7]

 

Perry, G. – Cunningham, C. (eds), Academies, Museums and Canons of Art, New Haven-London 1999 [N 7480.A2]

 

Pevsner, Nicolaus, Academies of Art, Past and Present, New York 1973, chs. 2-3 [N 325.P3]

 

Rogers, Mary, ‘The Artist as Beauty’, in Concepts of Beauty in Renaissance Art, ed. F. Ames-Lewis and M. Rogers, Aldershot 1998, pp. 93-106 [N 6915.C6]

 

Rubin, Patricia Lee, Giorgio Vasari: Art and History, New Haven-London 1995 [N 6922.V2]

 

Shiner, Larry, The Invention of Art. A Cultural History, Chicago-London 2001, Introduction and chs. 1-4 [N 66.S4]

 

Warnke, Martin, The Court Artist: On the Ancestry of the Modern Artist, Cambridge 1993 [N 8350.W2]

 

Wittkower, Rudolph, ‘Individualism in Art and Artists: A Renaissance Problem’, Journal of the History of Ideas, 22 (1961), pp. 291-302 [Jstor]

 

Wittkower, Rudolph - Wittkower, D., Born Under Saturn. The Character and Conduct of Artists, London 1963 [N 71.W4]

 

Woods-Marsden, Joanna, Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist, New Haven-London 1998 [N 7618.W6]

 

 

The Autobiography of a Craftsman: Benvenuto Celllini

Barker, Emma - Webb, Nick - Wood, Kim (eds.), The Changing Status of the Artist, New Haven-London 1999, ch. 3 [N 6915.C4]

 

Cellini, Benvenuto, Autobiography, London 1999

 

Chong, A. - Pegazzano, D. - Zikos, D. (eds.), Raphael, Cellini and a Renaissance Banker. The Patronage of Bindo Altoviti, Milan 2004 [N 5273.2.A5]

 

Gallucci, Margaret A. – Rossi, Paolo L. (eds), Benvenuto Cellini: Sculptor, Goldsmith, Writer, Cambridge 2004

 

Gardner, Victoria C., ‘Homines non nascuntur, sed figuntur: Benvenuto Cellini’s Vita and Self-Presentation of the Renaissance Artist’, Sixteenth Century Journal, 28 (1997), pp. 447-465 [Jstor]

 

Gardner Coates, Victoria C., ‘”Sculpsit Cellinium Neptunam”: The Biography of the Neptune Fountain in Cellini’s Vita’, Renaissance Studies, 19 (2005), pp. 604-618 [Arts Periodicals]

 

Pope-Hennesy, John W., Cellini, London 1985 [NB 623.C3]

 

Rossi, Paolo L., ‘Sprezzatura, Patronage, and Fate: Benvenuto Cellini and the World of Words’, in P. Jacks, Vasari’s Florence: Artists and Literati at the Medicean Court, Cambridge 1998, pp. 55-69 [N 6922.V2]