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The first exhibition to focus on images of artists from within the Royal Collection, 'Portrait of the Artist' not only show-cases self-portraits by world-renowned artists including Rembrandt, Rubens, Artemisia Gentileschi, Lucian Freud and David Hockney but also features images of artists by their friends, relatives and pupils, including the most reliable surviving likeness of Leonardo da Vinci by his student, Francesco Melzi. Well-known self-portraits intended to advertise the artist's talents will be shown alongside more intimate and personal works. The exhibition will examine a range of themes played out within these objects, from the 'cult' of the artist to the symbolism evoked through images of the artist's studio. The changing status of the artist over the centuries is another theme and the way in this is conveyed, both in the physical works and in the relationships between artist and patron will be highlighted. The role of monarchs in commissioning, collecting and displaying portraits of artists will also be discussed.

portraits --- Art --- painting [image-making] --- Self-portraits --- Portraits --- Art patronage --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- Portraiture --- Biography --- Pictures --- History --- Exhibitions --- E-books

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Aesthetics, British --- Aesthetics, French --- Art patronage --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- French aesthetics --- Aesthetics, English --- British aesthetics --- English aesthetics --- CDL --- 75.034/035

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Art patronage --- Art, Renaissance --- Renaissance art --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- History --- Conferences - Meetings --- Artistes et mécènes --- Actes de congrès --- Art and industry --- Actes de congrès. --- Artistes et mécènes

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Performing arts sponsorship --- Performing arts --- Sponsorship of performing arts --- Art patronage --- Sponsorship --- Art patronage. --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry

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Ouvrage présentant les recherches du programme Pictor ayant pour objectif l?étude comparative du métier de peintre en Europe au XVIe siècle.0L?examen des conditions d?apprentissage et d?exercice de la peinture dans les principaux centres artistiques est essentiel à une époque où le travail était encore largement réglementé. Cette question, longtemps marginale en histoire de l?art et cantonnée à la seule évocation d?ateliers ou d?artistes majeurs, apparaît aujourd?hui comme un préalable indispensable à toute investigation stylistique, et n?a d?intérêt qu?à l?échelle européenne. La définition de l?espace concerné, l?Italie, la France, les Flandres et l?Espagne, tient compte de la réalité de la circulation des peintres à la Renaissance. Cette large zone ne se conçoit que sur un temps suffisamment long (1490-1610) pour faire émerger les éventuelles différences d?évolution entre les régions.0Il s?agit concrètement de créer un corpus de sources sur le métier de peintre et de rassembler l?ensemble des savoirs fractionnés par les historiographies nationales.00Articles en français, anglais, italien, espagnol

Painters --- Painting, European --- Art patronage --- History --- Social conditions --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- European painting --- Artists --- Sociology of occupations --- painters [artists] --- schildersambacht --- anno 1500-1599 --- Europe