2. Diego Velasquez, Las Meninas, 1656.

3. Michelangelo, David, Florence, Marble, 1503.

6. …intentionally or unintentionally.

7. …aware or unaware of their role as viewer.

8. …with or without an opinion about what they see.Viewers at the Museum.

10. …who buy art for private or public viewing.

11. …who support artists and their works financially.

12. …who commission specific works.Isabella Stewart Gardner

14. …who make value judgments about individual works and artists.

15. …who comment about the role of art in society.

16. …who actively contribute to the way others view art.

17. …who supports artists with their writing.Norman Rockwell, The Art Critic, 1955.

18. Interrelated Roles People who encounter art. Viewer People who pay for art. Patron People who write about art. Critic

20. Exerting control over the artistic process.

21. Using art to promote an agenda.

23. Patron makes “suggestions” Artist modifies work Artist Context Context Art Patron Context The Patron and the Artist Patron hates the work Patron appreciates work

24. The Renaissance: Artist as Divine Genius “Why has God given me such magnificent talent? It is a curse as well as a great blessing.”--Albrecht Dürer “Nature holds the beautiful, for the artist who has the insight to extract it.” ― Albrecht Dürer “I, Albrecht Dürer of Nuremberg painted myself thus, with undying colors, at the age of twenty-eight years.” --Inscription on Painting Albrecht Durer, Self-Portrait, 1500.

25. Patron makes “suggestions” Artist modifies work Artist Context Context Tension Art Patron Context The Patron and the Artist Patron hates the work Patron appreciates work

26. Church Patronage The Bishop of Ravenna, Ecclesiasticus Model of the Church Christ Enthroned with St. Vitalisand Ecclesiasticus, San Vitale, Ravenna, 6th century CE.

27. Church Patronage Pope Julius II as the Prophet Zacharias Raphael, Pope Julius II, 1511-1512 Michelangelo, Sistine Chapel, Fresco, Vatican, 1508.

28. Court Patronage Peter Paul Rubens, The Exchange of the Princesses,

29. Court Patronage Terracotta Warriors, Tomb of Shihuangdi, Shaanxi Province, China, c. 210 BCE

30. Court Patronage Francisco de Goya, Family of King Charles IV, Madrid, 1803.

31. Court Patronage Francisco de Goya, Saturn Devouring his Children, 1819-1823.

32. Court Patronage La Infanta Margarita Velasquez King and Queen of Spain Diego Velasquez, Las Meninas, 1656.

33. Public or Civic Patronage Michangelo, David, Florence, Marble, 1503

34. Public or Civic Patronage Richard Serra, Tilted Arc, 1981-1989.

35. Private Patronage The window in Joseph’s workshop overlooks early modern Flanders Mary is in the costume and demeanor of a middle class Flemish woman The patrons are shown looking in on the annunciation. The interior represents a typical middle class home in Flanders. Robert Campin, Merode Altarpiece, Flanders, Oil on Panel, 1425-1428.

36. Private Patronage

37. Private Patronage Theo van Gogh Vincent van Gogh, Portrait of Theo van Gogh, 1887

39. How does one balance financial investment with protecting the arts?

40. How much control should a patron exert over the artist?

42. Participate in the artistic process.

43. Influence artists and other viewers.

44. Encourage artists in their work.

46. Interrelated Roles People who encounter art. Viewer People who pay for art. Patron People who write about art. Critic

48. Earliest works focused on architecture.

49. Encouraged a return to purer values in the pursuit of art.

51. The Power of the Critic:Ruskin vs. Whistler Ruskin: “For Mr. Whistler’s own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” James McNeill Abbot Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875.

52. The Power of the Critic:Ruskin vs. Whistler An Appeal to the Law, Punch Magazine, 1878. James McNeill Abbot Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875.

54. Made artists like Pollock marketable.

57. Can a single critic define the entirety of art and what it should be?

58. What is the responsibility of the critic?