De geefrelatie tussen beeldend kunstenaar en mecenas
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2015-08-27
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nl
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During the last few years, the government has provided more space for private support of arts and culture. The patron that supports the artist in his or her artistry is one way of this private support. However, the relationship between patron and artist is rarely examined scientifically. Dutch research in this field is limited to the perspective of the patron on the relationship or the relationship between benefactor and their protégés from a historic perspective. Hence, further research is necessary.
This research indicates that there is a wide variety of factors of success and failure in the giving- relation that follow certain patterns. For example, it is important that both parties share the same artistic conventions, have a relatively equal position in the artistic field and that within this ‘classification struggle’, the patron mainly invests economic capital and the artist mainly invests cultural capital. Furthermore, it is important that the patron acknowledges the artistic autonomy of the artist and that he or she can partly identify with the – sometimes unsympathetic and risky – artistic personality. Converse, the artist needs to realise that complete autonomy is unattainable and the benefactor needs to be included in the production and distribution of the artwork. At the gift exchange, both parties need to fully acknowledge each other’s identity, express gratitude and ensure that the artist does not become too dependent on the benefactor. In addition,! it is ne cessary to reach a clear agreement to prevent distrust.
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Faculteit der Letteren