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Geographical works, as socially constructed texts, provide a rich source for historians and historians of science investigating patronage, the governmental initiatives and support for science, and the governmental involvement in early modern commerce. Over the course of nearly two centuries (1594-1789), in adopting and adapting maps as tools of statecraft, the Bourbon Dynasty both developed patron-client relations with mapmakers and corporations and created scientific institutions with fundamental geographical goals. Concurrently, France—particularly, Paris—emerged as the dominant center of map production. Individual producers tapped the traditional avenues of patronage, touted the authority of science in their works, and sought both protection and legitimation for their commercial endeavors within the printing industry. Under the reign of the Sun King, these producers of geographical works enjoyed preeminence in the sphere of cartography and employed the familiar rhetoric of image to glorify the reign of Louis XIV. Later, as scientists and scholars embraced Enlightenment empiricism, geographical works adopted the rhetoric of scientific authority and championed the concept that rational thought would lead to progress. When France Was King of Cartography investigates over a thousand maps and nearly two dozen map producers, analyzes the map as a cultural artifact, map producers as a group, and the array of map viewers over the course of two centuries in France. The book focuses on situated knowledge or 'localized' interests reflected in these geographical productions. Through the lens of mapmaking, When France Was King of Cartography examines the relationship between power and the practice of patronage, geography, and commerce in early modern France.
The fourteen essays in this collection explore the dominance of patronage in Renaissance politics, religion, theatre, and artistic life. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author : Thomas Patrick Campbell Publisher : Metropolitan Museum of Art Page : 367 pages File Size : 37,23 MB Release : 2010 Category : Tapestry ISBN : 030015514X
This illustrated volume is a comprehensive survey of 17th century European tapestry. It features some of the finest surviving examples from many international collections, as well as a number of related designs and oil sketches.
Western policymakers, political activists and academics alike see patronage as the chief enemy of open, democratic societies. Patronage, for them, is a corrupting force, a hallmark of failed and failing states, and the obverse of everything that good, modern governance ought to be. South Asia poses a frontal challenge for this consensus. Here the world's most populous, pluralist and animated democracy is also a hotbed of corruption with persistently startling levels of inequality. Patronage as Politics in South Asia confronts this paradox with calm erudition: sixteen essays by anthropologists, historians and political scientists show, from a wide range of cultural and historical angles, that in South Asia patronage is no feudal residue or retrograde political pressure, but a political form vital in its own right. This volume suggests that patronage is no foe to South Asia's burgeoning democratic cultures, but may in fact be their main driving force.
The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art firmly into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.
Power and Patronage examines the unwritten rules and inner workings of contemporary China's local politics and government. It exposes how these rules have helped to keep the one-Party state together during decades of tumultuous political, social, and economic change. While many observers of Chinese politics have recognized the importance of informal institutions, this book explains how informal local groups actually operate, paying special attention to the role of patronage networks in political decision-making, political competition, and official corruption. While patronage networks are often seen as a parasite on the formal institutions of state, Hillman shows that patronage politics actually help China's political system function. In a system characterized by fragmented authority, personal power relations, and bureaucratic indiscipline, patronage networks play a critical role in facilitating policy coordination and bureaucratic bargaining. They also help to regulate political competition within the state, which reduces the potential for open conflict. Understanding patronage networks is essential for understanding the resilience of the Chinese state through decades of change. Power and Patronage is filled with rich and fascinating accounts of the machinations of patronage networks and their role in the ruthless and sometimes violent competition for political power.
Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron in Victorian California redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. Neither denouncing, nor lionizing, nor dismissing its subjects, it demonstrates the benefits of taking art consumers seriously as active contributors to the cultural meanings of artwork. It explores the critical role of art patronage in the articulation of a new and distinctly modern elite class identity for newly ascendant corporate executives and financiers. These economic elites also sought to legitimate trends in industrial capitalism, such as mechanization, incorporation, and proletarianization, through their consumption of a diverse array of elite culture, including regional landscapes, panoramic and stop-motion photography, history paintings of the California Gold Rush, the architecture of Stanford University, and the design of domestic galleries. This book addresses not only readers in the art history and visual and material cultures of the United States, but also scholars of patronage studies, American Studies, and the sociology of culture. It tells a story still relevant to this new Gilded Age of the early 21st century, in which wealthy collectors dramatically shape contemporary art markets and institutions.