The most surprising outcome from the Victoria School of Art and Design's first half century is that it survived into its second. How it survived, and how it almost failed to, is the subject of this thesis. The main argument is that community support for the VSAD, or lack of it, was based more on pragmatic concerns, rather than on whether people liked the art being produced. Among those concerns, the most talked about was art training for employable skills. Led by Anna Leonowens, who later became the subject of the musical The King and I, well-to-do citizens in Halifax, Nova Scotia founded the VSAD in 1887. In 1925 the school changed its name to the Nova Scotia College of Art. Its current name, the Nova Scotia College of Art and Design, came in 1969, the year that the College became what was then the only autonomous degree granting art institution in Canada. As part of an international movement, the VSAD shared its late nineteenth century origins with similar art schools throughout North America, Europe, Britain and its colonies. Many of these schools also shared common purposes: to sharpen the graphic skills of industrial designers, to provide instruction in the fine and decorative arts, and to train drawing teachers for public and private schools. Of the different groups supporting the Halifax school, women and their organizations were the most consistent and consequential, especially Halifax's Local Council of Women. A properly funded art school, they argued, could generate jobs, stimulate economic gains, and foster higher standards of civic culture within the community. This study looks at the VSAD's supporters, teachers, and administrators during its first half century. It describes how the school, with its inadequate enrolment, budget, and space, played a limited role in generating art-related employment before the Great War. It is only with the principalship of Elizabeth Styring Nutt from 1919 to 1943, with her strong community connections and decades-long commitment to training artist-workers, that the school finally gained relative security and success. / Education, Faculty of / Graduate

The role of Roman patrons and their relations with local communities is investigated. Northern Italy has been chosen as the region where this investigation will be carried out. It will be shown that the institution of patronage in northern Italy underwent a process of decline as the rest of the empire. This point will be displayed by taking into consideration the legal, literary, and epigraphic body of evidence related to the institution of patronage in northern Italy. A careful reading of the sources will show that the title of patronus was granted by local communities as a reward for the patronus’s generosity. Such title did not obligate these patroni to benefit their communities, although many did. This gradual process of decline ultimately reached its peak under the 2nd century AD when patronage transformed into a symbolic institution. / Thesis / Master of Arts (MA)

National and selected local newspapers, executive and congressional sources from 1829-1837, personal correspondence, and autobiographies are studied to consider the use of public funds for government printing patronage. A limited examination of printing patronage for the years prior to and immediately following the Jackson administration was made for comparative purposes. The printing patronage of various departments of the executive branch, including especially the publication of the laws, and of both houses of Congress are studied, This study shows that congressional printing funds were far more extensive than the executive printing funds, The thesis concludes that during the Jackson administration the press patronage of the executive branch served as a counterbalance to the substantial patronage available from Congress and the Bank to the established presses,

No description available.

This thesis’ main goal is to answer the question: from where did Peter Paul Rubens’s Life of Marie de Medici Cycle come? Previous literature has focused on the content of the twenty-four canvases of the Medici Cycle and their meanings. However, they have not viewed the Medici Cycle as part of a bigger whole and thus part of a larger agenda that was symbolised through Marie de Medici’s construction and patronage of her own palace in Paris, the Luxembourg Palace. Originally planned to emulate the Palazzo Pitti in Florence in which Marie was raised, the Palace represents the Florentine agenda that was prevalent throughout Marie’s patronage after her first exile at the hands of her son, Louis XIII, in 1617. By viewing the Luxembourg Palace as a whole and exploring the Medici Cycle’s placement there, this thesis will show that Marie was looking back to Florence for guidance when constructing her own image as wife, widow, mother and regent. The first chapter places the Medici Cycle firmly within the Luxembourg Palace and the themes prevalent throughout the decoration there, acknowledging Marie’s dependence on Medici architectural and pictorial projects when developing her own programme of praise. The second chapter looks to how the other Medici queen of France, Catherine de Medici, portrayed herself when faced with the same obstacles as Marie, fifty years prior: motherhood, widowhood, regency, foreignness, gender and power. In this chapter it becomes evident that Marie used many of the same strategies as Catherine, yet far surpassed her in her own aggressive self-promotion, as evidenced by the nature of the Medici Cycle. Chapter three focuses on the similarities between the Medici Cycle and sixteenth and seventeenth century entries and festivals, especially those in Florence staged in celebration of dynastic marriages. The chapter answers the question of whether the Medici Cycle was in fact, finally, Marie’s triumphal entry into Paris. The final chapter looks to Marie and her image following her final exile in 1630. It highlights the importance of the Medici Cycle on Marie’s public image and how it influenced later depictions and laudations of Marie, specifically in her entries into Brussels, Antwerp, Amsterdam and London. This chapter will show that Marie still had the same patronage agenda following her final exile and how the imagery of the Medici Cycle became part of the symbolism and vocabulary in Marie’s patronage and image that shaped opinions of Marie far past her death in 1642 to how her image is perceived today.

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 329-340).

This dissertation examines the patronage of Marie de Brabant, queen of France (1260-1322), and how her commissions transformed the atmosphere of the late Capetian court. Bringing with her from her native duchy of Brabant an established set of cultural preferences strikingly different from those that the saintly Louis IX had promoted in Paris for the previous half century, she introduced a love of secular material and elaborate ceremony upon her arrival in 1274. Taking the form of manuscript illumination, sculpture, stained glass, and architecture, as well as literature, music, science, history, genealogy, ritual, and finery, Marie’s patronage set a trend for courtly consumption for the remainder of the medieval period. Nearly always political in nature, her commissions were nonetheless sumptuous to behold, whether secular or sacred in content and they announced her status as Carolingian princess and French queen. Analysis of the frontispiece of Bibliothèque de l’Arsenal Ms. 3142, a richly illuminated miscellany of fictional, historical, and didactic poetry is crucial for understanding Marie’s taste and priorities, and is complemented by study of her other commissions in Brabant and France. These commissions varied from large scale -- such as the addition of chapels to the east end of the church of Notre-Dame in Mantes or window programs for the chapel of St. Nicholas at the church of St.-Nicaise in Reims and her parent’s necropolis at the church of the Dominicans in Louvain -- to smaller format -- the châsse of Ste. Gertrude at Nivelles or the donor statues of the chapelle de Navarre at Mantes. Most numerous, however, are the manuscripts that made up her diverse library which included the secular romances of Adenet le Roi and the scientific treatises of Guillaume de Nangis as well as historical and religious texts all of which were illuminated by the most renowned and creative artists of the day. After an analysis of her patronage as queen and widow, I look to how her activities as patron and collector influenced other late Capetian royal women, many of whom Marie had raised and whose activities, in turn, complemented and complicated their mentor’s vision of queenship. / text

This thesis deals principally with the period following Pinschof’s arrival from Vienna in 1879, to just after the First World War. It considers the Pinschofs’; generous and timely support of the arts within the context of the amount of private and institutional patronage and the British, German and other cultural influences on Melbourne society at the time.

Cette étude vise d'abord à dresser un tableau des foyers du patronage scientifique et technique. Le patronage aristocratique grandiose semble être une ressource rare et se trouve concurrencé par des formes de protection plus coutumières. L' État reste le grand dispensateur des faveurs ! s'il n'existe pas d'administration des sciences et des techniques, les monarchies offrent aux savants et techniciens plusieurs perspectives d'emplois alors que les préoccupations militaires et culturelles suscitent le développement de plusieurs chantiers de recherche. En dépit de cette disposition croissante des administrateurs à soutenir les entreprises savantes, l'accès aux faveurs du souverain reste très concurrentiel, comme le montre la querelle des longitudes autour des propositions de Jean-Baptiste Morin. Enfin, les techniciens sollicitent de manière croissante une autre forme de protection : le privilège d'invention, qui donne souvent lieu à la création d'entreprises techniques. La dernière partie de ce travail montre que la conquête du marché semble se nourrir de la faveur davantage que de l'innovation / This study first intends to map out the various modalities of scientific and technical patronage. Grand aristocratic patronage is rarely granted and is rivaled by more customary forms of protection. The State remains the greatest bestower of favours. Even if sciences and techniques are not supported by any administrative structures, monarchies give scientists and technicians several occupational perspectives while the State’s military and cultural preoccupations spark the development of various fields of research. Despite the administrators’ growing tendency to support scholarly enterprises, the access to the sovereign’s favours remains very competitive, as is shown through the longitude quarrel, which breaks out in relation to the work of the astrologer Jean-Baptiste Morin. Lastly, technicians increasingly appeal for another form of protection - the privilege of invention, which often results in the creation of technical enterprises. The last part of this study shows that the conquest of the marketplace tends to be spurred by favours more than by innovation

This dissertation analyzes the dates and artistic provenance of key architectural and decorative projects commissioned by the Pucci family for their townhomes, villas, and palaces during the Renaissance. It identifies the family’s insistent identification with prestigious Renaissance architects and artisans as a key element in a political and social stratagem that took its cue from the humanist ethos cultivated by their political patrons, the Medici. Temporally, this study is bracketed on both ends of the Renaissance by architectural commissions related to the Pucci’s long-standing patronage of Santissima Annunziata, the most important pilgrimage church in Florence. Methodoligically, it is an archival project that relies principally on previously unknown letters, wills, payment records, inventories, and notarial documents.