Artist mobilization

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The term artist mobilization describes the elevation of an artist to the rank of nobility , it is a form of personal nobility . The first evidence of an ennobled artist dates back to 1289 and comes from Naples .

title

Since the 14th century at the latest, it has been possible for painters, sculptors and builders in many countries to be awarded a knight's title ( eques ) . Artists could also receive the title of Count Palatine (Comes Palatinus) . Sodoma and Titian were even raised to the rank of Comes Palatinus Sacri Lateranensis , which could only be bestowed by the emperor.

motivation

In the 16th and 17th centuries there was a strong spread of the mobilization of artists. Previously it was reserved for citizens of noble origin. The nobility of an artist was usually justified with his virtue . There are different motives for conferring a title of nobility on an artist.

The rank of nobility was on the one hand a form of remuneration . Artists were paid for their work by ennobling them by their clients. The artists Leone Leoni and Baccio Bandinelli were as compensation for commissioned works of Charles V in the Order of Knights of Santiago added. Furthermore, some rulers wanted to make their artists acceptable in order to be able to send them to other courts , first of all to gain access and to be represented with dignity. The sending of an ennobled artist to another court gave him the impression of a "trustworthy emissary."

With the title of nobility, the artist received privileges such as tax exemption and the right to carry a weapon. Nobles were no longer allowed to work as craftsmen. The award of a title of nobility to an artist is a sign of the emancipation of art from craft.

Even in the 19th century there were still many cases of artist mobilization.

literature

  • Schütze, Sebastian: Arte Liberalissima e Nobilissima. The mobilization of artists in papal Rome. A contribution to the social history of the artist in the early modern period. In: Journal for Art History. 55 (1992). Pp. 319-351.
  • Warnke, Martin  : court artist. On the prehistory of the modern artist. Cologne: DuMont, 1985. ISBN 3-7701-3847-3 , pp. 202-223.

Individual evidence

  1. ↑ cf. Warnke, Martin : court artist. On the prehistory of the modern artist. , Cologne: DuMont, 1985, p. 18.
  2. ↑ cf. Warnke, Martin : court artist. On the prehistory of the modern artist. , Cologne: DuMont, 1985, p. 204f.
  3. ↑ cf. Warnke, Martin : court artist. On the prehistory of the modern artist. , Cologne: DuMont, 1985, p. 206.
  4. ↑ cf. Warnke, Martin : court artist. On the prehistory of the modern artist. , Cologne: DuMont, 1985, pp. 205-208.
  5. ↑ cf. Warnke, Martin : court artist. On the prehistory of the modern artist. , Cologne: DuMont, 1985, p. 308.