“In a conservative courtly culture an artist of his (Rembrandt's) kind would perhaps never made a name for himself at all, but, once recognized, he would probably have been able to hold his own better than in liberal middle-class Holland, where he was allowed to develop in freedom, but which broke him when he refused to submit any longer. The spiritual existence of the artist is always in danger; neither an authoritarian nor a liberal order of society is entirely free from peril for him; the one gives him less freedom, the other less security. There are artists who feel safe only when they are free, but there are also such as can breathe freely only when they are secure. The seventeenth century was, at any rate, one of the period furthest removed from the ideal of synthesis of freedom and security.” ArtistFreedomSecurityBaroqueRembrandt Book:The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque Source: The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque
“Like the usurpers in the Italian Renaissance, they seek to gloss over the illegitimacy of their rô1e by offering tangible advantages and making a fine show; that explains their economic liberalism and their patronage of the arts. They employ art not merely as a means to fame and a propaganda instrument but also as an opiate to soothe the opposition. The fact that their art policy is often accompanied by a true love and understanding of art does not affect its social basis. The courts of the Tyrants are the most important cultural centres of the age and its greatest repositories of artistic production [...] Yet in spite of this activity at the courts, the art of the age of the Tyrants is not entirely a product of the court; the rationalistic and individualistic spirit of the age hindered the development of that solemn pageantry and those conventional forms which are characteristic of a court style. The only features in this art that we can ascribe to the court are its joy in the senses, its refined intellectuality, and its somewhat artificial elegance of expression—all features to be found in the older Ionian tradition but developed to a still higher degree at the courts of the Tyrants.” ArtArtistStylePropagandaIndividualismPatronageTyrantCourt Art Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages Source: The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages