This article focuses on women's luxury footwear to examine issues of economic, material, and familial life in Renaissance Italy. It uses graphic work by Albrecht Dürer to explore footwear design, and draw from disparate sources to propose a new method for evaluating its cost. The article argues that sumptuous footwear was available for a range of prices that are not reflected in surviving payment records, and that it was largely less expensive than moralists and legislators implied. In conclusion, it employs Minerbetti documentation to consider the role particular shoes may have played in developing personal subjectivity.
Most of the papers in this collection consider issues concerning the design and function of objects; they address their intended sites, the requirements of their owners and the import they held for their users. The objects made by artists and artisans were also nexus points in their careers: objects stood as much for their makers as for their owners. They constituted connections between artists and their clients, and they often acted as agents for the creation of new objects. This paper looks at the design and function of works of art from the point of view of the profession. Specifically, it considers the role key commissions played in the creation of reputations and the launch of stellar careers. Looking at the very early careers of Botticelli, Ghirlandaio and Perugino, the paper investigates connections among clients and the paths individuals took to hiring the painters, examines the response the painters made to their early commissions, and looks at the associations and reputations these painters built up in the years before they were hired to paint the walls of the Sistine chapel in 1481. It considers the role of Cosimo Rosselli, the fourth member of the Sistine team, in identifying and defining fame, and proposes a new way of considering the route Florentine painters took to painting the chapel newly built by Sixtus IV. The paper aims to demonstrate the significance of works for the trajectory of their makers’ professional lives and to suggest how certain works, in specific contexts, attracted clients and drew new works into being.
To consider the Renaissance altarpiece as an active social force, this article draws on ideas concerning the efficacy of works of art articulated by Alfred Gell in his compelling book Art and Agency (1998). Considering as a case study the altarpiece depicting the Virgin enthroned with saints and angels, commissioned by the Florentine Confraternity of the Purification in 1461 and painted by Benozzo Gozzoli, the text investigates the network of relationships that generated the work, including the confraternity's association with the Virgin, the Medici family, the convent of the Observant Dominicans, the citizens of Florence and the painters Fra Angelico and Benozzo Gozzoli. The essay argues that Renaissance altarpieces played a dynamic and practical role in the social life of the period. Moreover, it contends that altarpieces themselves were causal in the creation of works of art, and links this analysis to the problem of interpreting altarpieces that were made to be pictorially similar to an already existing work.
Michelle O'Malley is the Director of the Office for Research Support in the School of Humanities at the University of Sussex; previously she was the Head of Education for Exhibitions at the Royal Academy of Arts, London. Her published work includes The Business of Art: Contracts and the Commissioning Process in Renaissance Italy (Yale University Press, forthcoming 2005) and The Material Renaissance, co‐edited with Evelyn Welch (Manchester University Press, forthcoming 2007). She is currently working on issues of valuing and pricing, focusing on the career of Pietro Perugino. Her interest in questions of agency is related to this topic.
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