Misplaced Pages

#86913

47-547: An artist residency is an opportunity provided by a host organisation that enables a guest artist to work in a new environment, often away from the restrictions and pressures of their everyday lives. Artist residencies are about providing the time and space for a guest artist to develop work and creatively explore new ideas. Artist groups resembling artist residencies can be traced back to at least 16th century Europe, when art academies began to emerge. In 1563 Duke of Florence Cosimo Medici and Tuscan painter Giorgio Vasari co-founded

94-516: A combination of public and private funding, and 22 received a combination of public and self-generated funding. Public funds may be distributed from institutions at city, state, national, regional, and international levels. For example, the Künstlerhaus Stuttgart Atelierprogramm is a year-long artist residency program for emerging artists and art critics, funded by the city of Stuttgart. An example of funds being distributed from

141-835: A form of policy guidelines for artist residencies. In 2014 the European Union, working with the Working Group of EU Member States Experts on Artists' Residencies, published the Policy Handbook on Artists' Residencies]". The handbook outlines in detail current trends and behaviours of institutions hosting artist residencies across Europe, and provides guidelines to direct EU states' implementation of good policy in running artist residencies. Their suggestions included: "ensur[ing] that there are clear, well-articulated aims and shared objectives by all parties involved"; "attend[ing] targeted training sessions (workshops and support) for artists, hosts,

188-456: A large wave of artist residencies, particularly during the 1960s. The Artist Placement Group (APG) is widely considered to be one of the earliest iterations of an artist-residency, and was the first of its kind in the United Kingdom. The APG was founded in 1962, by visual artists Barabara Steveni and John Latham. The group is significant to the history of artist residencies, as it was one of

235-521: A participation fee. There are generally multiple bodies involved in the facilitation and funding of artist residencies. These include a hosting organisation, institution or community, and the various funding bodies of the residency. Costs of funding artist residencies vary significantly according to the type, length, and nature of the program. They may include administration salaries; managerial salaries; hospitality; air fares; visa fees; materials; contracts, and accommodation. Residencies may also cover costs of

282-614: A professional development opportunity for the artist (88%)", "To support the creation or development of new artistic work (75%)", "Cultural cooperation (31%)", and "To be part of a local community development program (19%)". A study on the Artists in Architecture residency in Praiano, Italy, found that residents of the town expressed higher feelings of propensity to art, custody, social cohesion, and creativity in interviews conducted six months after

329-502: Is "an international association based in the United States, founded in the aim of support[ing] the people who power the field of artist residencies". In 2020, the ACA released an article entitled "The Five Pillars of a Healthy Residency". The five essential "pillars" proposed were these: The Australian Capital Territory (ACT) has developed and released an "Artists-in-Residence Toolkit" to guide

376-588: Is incorrect; Andrea died several years before Domenico. In another example, Vasari's biography of Giovanni Antonio Bazzi, whom he calls " Il Sodoma ", published only in the second edition of the Lives (1568) after Bazzi's death, condemns the artist as being immoral, bestial, and vain. Vasari dismisses Bazzi's work as lazy and offensive, despite the artist's having been named a Cavalier of the Supreme Order of Christ by Pope Leo X and having received important commissions for

423-505: Is now regarded as including many factual errors, especially when covering artists from before he was born. Vasari was a Mannerist painter who was highly regarded both as a painter and architect in his day, but rather less so in later centuries. He was effectively what would now be called the minister of culture to the Medici court in Florence , and the Lives promoted, with enduring success,

470-560: The Accademia del Disegno , which may be considered the first academy of arts. It was the first institution to promote the idea that artists may benefit from a localised site dedicated to the advancement of their practice. In the 17th century, the state of France funded the Prix de Rome , a scholarship financing artists to train for three to five years in institutions such as the palazzo Mancini in Rome and

517-741: The Palazzo Vecchio in Florence, where he and his assistants worked from 1555. Vasari also helped to organize the decoration of the Studiolo , now reassembled in the Palazzo Vecchio. In Rome, he painted frescos in the Sala Regia . Among his better-known pupils or followers are Sebastiano Flori , Bartolomeo Carducci , Mirabello Cavalori (Salincorno), Stefano Veltroni (of Monte San Savino ), and Alessandro Fortori (of Arezzo). His last major commission

SECTION 10

#1733086020087

564-638: The Villa Farnese and other sites. Vasari's biographies are interspersed with amusing gossip. Many of his anecdotes seem plausible, while others are assumed fictions, such as the tale of young Giotto painting a fly on the surface of a painting by Cimabue that supposedly, the older master repeatedly tried to brush away (a genre tale that echoes anecdotes told of the Greek painter Apelles ). He did carry out research archives for exact dates, as modern art historians do, and his biographies are considered more reliable in

611-617: The Villa Medici in Florence. During the 19th century in Europe, artist communities began emerging in the countryside, where the outdoor setting was considered a catalyst for inspiration and the collaborative development of artistic ideas among the communities. A century later in 1919, the Staatliches Bauhaus emerged as a "counter-reaction to the model of academic education, where the artist is isolated from society". The mid-20th century saw

658-458: The 1980s and 1990s, increased globalisation allowed residencies to become more accessible to artists from overseas, with institutions opening up their residency programs to international artists. The expansion of the internet in the early 2000s further globalised artist residencies, as cheaper and more immediate forms of communication allowed the organisation and application processes of international artist residencies to become easier and timelier. By

705-500: The 2010s, artist residencies had become widely considered by artists to be "an indispensable part of their career". A survey conducted by the International Federation of Arts Councils and Culture Agencies (IFACCA) in 2013 studied the general motives and intended impacts of artist residency programs. Collecting data from 18 countries and six continents, IFACCA found the most popular motivations of respondents to be: "To provide

752-628: The Florentine Accademia e Compagnia delle Arti del Disegno , with Grand Duke Cosimo I de' Medici and Michelangelo as capi of the institution. Thirty-six artists were chosen as members. He died on 27 June 1574 in Florence , Grand Duchy of Tuscany , aged 62. In 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance . Vasari's own Mannerist paintings were more admired in his lifetime than afterwards. In 1547, he completed

799-614: The United Kingdom, the increase in artist residencies during the mid-1960s coincided with a new Labour government, and in particular the new government’s writing of the 1965 White Paper, Policy for the Arts: the first steps , and redrawing of the Arts Council's Royal Charter in 1967. According to arts academic Kevin Stephens, "the key change [in the new charter] was its reference to 'the arts' rather than 'the fine arts exclusively'". This shift away from

846-406: The aesthetic experience provided by the brief residency significantly increased student interest and engagement in art activities, at least for the duration of the study. Certain models of funding for artist residencies may include a per diem allowance for the participating artist. Other models of funding, often of non-for-profit entities, may provide no allowance, and may even require artists to pay

893-438: The art curricula in pre-kindergarten classrooms. A 2011 study conducted in an American child care centre found that a six-week artist residency had the effect of "transform[ing]… existing, craft-focused art practices to meaningful arts experiences that drew upon art-viewing, art-making and aesthetic experiences". Whilst it was not within the scope of the study to examine the long-term effects of an artist residency, it indicated that

940-507: The arts had been in the air since the time of Alberti . Vasari's term, applied to the change in artistic styles with the work of Giotto, eventually would become the French term Renaissance (rebirth) widely applied to the era that followed. Vasari was responsible for the modern use of the term Gothic art , as well, although he only used the word Goth in association with the German style that preceded

987-421: The benefits of art programs run by artists-in-residence at aged care facilities is due to their positive focus on the abilities and skills of participants. The study suggested that such works to directly counteract the way the inabilities of senior populations may be reinforced and highlighted by the complex care environment of many aged care facilities. Research has indicated that artist residencies may strengthen

SECTION 20

#1733086020087

1034-422: The case of his contemporary painters and those of the preceding generation. Modern criticism – with new materials produced by research – has revised many of his dates and facts. Vasari included a short autobiography at the end of the Lives , and added further details about himself and his family in his lives of Lazzaro Vasari and Francesco Salviati . According to the historian Richard Goldthwaite, Vasari

1081-581: The church of Santa Croce in Bosco Marengo ( Province of Alessandria , Piedmont ). In 1562, Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia , an important example of High Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammannati at Pope Julius III 's Villa Giulia . Often called "the first art historian", Vasari invented

1128-405: The circle of Andrea del Sarto and his pupils, Rosso Fiorentino and Jacopo Pontormo , where his humanist education was encouraged. He was befriended by Michelangelo , whose painting style would influence his own. Vasari enjoyed high repute during his lifetime and amassed a considerable fortune. He married Niccolosa Bacci, a member of one of the richest and most prominent families of Arezzo. He

1175-447: The community, and students"; and "ensur[ing] good evaluation takes place, documentation is produced and feedback is provided to inform future practice". At the national level, the handbook suggested that the improvement of "Inter-governmental communication at all levels of governance (sub-regional, local, city, etc.) ... in order to create a coherent strategy for artists' residencies". The Artist Communities Alliance (ACA) declares that it

1222-403: The completion of the short-term residency. The study's researchers suggested that this finding supported the proposition that artist residencies, by linking art practice with a localised space, may greatly benefit the surrounding community. They suggested that in funding the residency, the town of Praiano demonstrated to its citizens a commitment to the arts, which may effectuate positive change in

1269-505: The cultural change. The term was adopted thereafter in historiography and is still in use today. Vasari was born prematurely on 30 July 1511 in Arezzo , Tuscany . Recommended at an early age by his cousin Luca Signorelli , he became a pupil of Guglielmo da Marsiglia , a skillful painter of stained glass . Sent to Florence at the age of sixteen by Cardinal Silvio Passerini , he joined

1316-484: The development of artist residency programs. Its suggestions include: clearly defining the residency's purpose; clearly defining the costs the hosting institution will be responsible for; and completing a detailed evaluation of the residency program at its completion. Giorgio Vasari Giorgio Vasari ( / v ə ˈ s ɑːr i / , US also /- ˈ z ɑːr -, v ɑː ˈ z ɑːr i / ; Italian: [ˈdʒordʒo vaˈzaːri] ; 30 July 1511 – 27 June 1574)

1363-452: The documentation and evaluation of the residency, which may be necessary for institutional records and program transparency. Funds may be collected from a variety of sources. They may be sourced from public means, private means, or a hybrid of both. An informal research study conducted by Res Artis collated data on the funding practices of 134 artist-in-residence programs. Of the 134 respondents, 73 received exclusively public funding, 34 received

1410-407: The first major residencies to introduce visual artists into institutions. Steveni conceived the idea of an artist residency program whilst sourcing material to use in her artistic practice from a factory. The visit led Steveni to consider what benefits might come from a program which directly engaged artists in private institutions. The APG's objective was to promote the influence of art on society, and

1457-528: The genre of the encyclopedia of artistic biographies with his Le Vite de' più eccellenti pittori, scultori, ed architettori ( Lives of the Most Excellent Painters, Sculptors, and Architects ). This work was first published in 1550 and dedicated to Grand Duke Cosimo I de' Medici . Vasari introduced the term "Rinascita" (rebirth in Italian) in printed works – although an awareness of an ongoing "rebirth" in

Artist-in-residence - Misplaced Pages Continue

1504-614: The hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni . He was regularly employed by members of the Medici family in Florence and Rome. He also worked in Naples (for example on the Vasari Sacristy ), Arezzo, and other places. Many of his paintings still exist, the most important being on the wall and ceiling of the Sala di Cosimo I in

1551-549: The idea of Florentine superiority in the visual arts . Vasari designed the Tomb of Michelangelo , his hero, in the Basilica of Santa Croce , Florence that was completed in 1578. Based on Vasari's text in print about Giotto 's new manner of painting as a rinascita (rebirth), author Jules Michelet in his Histoire de France (1835) suggested the adoption of Vasari's concept, using the term Renaissance (rebirth, in French) to distinguish

1598-449: The influence of society on art, by "bridg[ing] the gap between artists and people at work so that each may gain from the other's perspectives and approaches to an activity". The wave of artist residency programs emerging in Europe in the 1960s may be attributed to several factors, including: the emergence and growth of regional arts associations; government changes in arts policy framework; and a shifting preference towards "community arts". In

1645-497: The invention of engraving . Venetian art in particular (along with arts from other parts of Europe), is ignored systematically in the first edition. Between his first and second editions, Vasari visited Venice and while the second edition gave more attention to Venetian art (finally including Titian ), it did so without achieving a neutral point of view. Many inaccuracies exist within his Lives . For example, Vasari writes that Andrea del Castagno killed Domenico Veneziano , which

1692-609: The medieval churches of Santa Maria Novella and Santa Croce . In both buildings, he removed the original rood screen and loft, and remodeled the retro- choirs in the Mannerist taste of his time. In Santa Croce, he produced the painting of The Adoration of the Magi commissioned by Pope Pius V in 1566 and completed in February 1567. It was restored recently, before being exhibited in 2011 in Rome and Naples. Eventually, it will be returned to

1739-486: The national level is the Malta Arts Fund, which supports artists participating in residency programs. Examples of private funding bodies may include art galleries, businesses, scientific organisations, environmental organisations, hospitals, or schools. In recognition of the increasing prevalence of artist residencies, many national and state governments, their organs, and other non-government organisations, have released

1786-539: The overall quality of life of senior populations living in residential care. It has demonstrated that arts programs are capable of improving the physical health, mental health, and social wellbeing of senior populations. In particular, studies have observed that art programs may affect changes in overall health, a lower frequency of doctor visits and the use of prescription drugs, a lower rate of depression and feelings of loneliness, and an increase in participation in social activities. It has been suggested by one 2021 study that

1833-566: The predominance of high arts encouraged more experimental practices, which were facilitated by the model of artist residencies. These artist residency programs consisted almost exclusively of visual arts residencies. Although throughout the 1960s residency opportunities for poets, composers, and musicians appeared, the scene was nevertheless dominated by visual artists. During the 1970s and 1980s, residency opportunities became increasingly common. They began to develop similar tendencies, indicating an emergent field of artist-in-residence programs. During

1880-482: The rebirth, which he identified as "barbaric". The Lives also included a novel treatise on the technical methods employed in the arts. The book was partly rewritten and extended in 1568, with the addition of woodcut portraits of artists (some conjectural). The work shows a consistent and notorious bias in favour of Florentines and tends to attribute to them all the developments in Renaissance art – for example,

1927-662: The riverside environment. In Florence, Vasari also designed the long passage, now called Vasari Corridor, which connects the Uffizi with the Palazzo Pitti on the other side of the river. The corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio , and winds around the exterior of several buildings. It was once the location of the Mercado de Vecchio. He renovated

Artist-in-residence - Misplaced Pages Continue

1974-582: The vista at the far end of its long narrow courtyard. It is a unique piece of urban planning that functions as a public piazza, and which, if considered as a short street, is unique as a Renaissance street with a unified architectural treatment. The view of the Loggia from the Arno reveals that, with the Vasari Corridor , it is one of the very few structures lining the river that is open to the river and appears to embrace

2021-511: The wider community, through encouraging "the promotion of exhibitions, the activation of networks between the creative industries on a national scale, [and] the invitation of tour operators from the international market.". Studies into the effects of arts programs on senior populations have been conducted since as early as the 1980s, and artist residencies have since become increasingly common in aged care facilities. Research has shown that programs led by artists-in-residence may significantly improve

2068-620: Was a vast The Last Judgement fresco on the ceiling of the cupola of the Florence Cathedral that he began in 1572 with the assistance of the Bolognese painter Lorenzo Sabatini . Unfinished at the time of Vasari's death, it was completed by Federico Zuccari . Aside from his career as a painter, Vasari was successful as an architect. His loggia of the Palazzo degli Uffizi by the Arno opens up

2115-407: Was an Italian Renaissance painter , architect, art historian and biographer, who is best known for his work Lives of the Most Excellent Painters, Sculptors, and Architects , considered the ideological foundation of all art-historical writing, and still much cited in modern biographies of the many Italian Renaissance artists he covers, including Leonardo da Vinci and Michelangelo , although he

2162-605: Was made Knight of the Golden Spur by the Pope. He was elected to the municipal council of his native town and finally, rose to the supreme office of gonfaloniere . He built a fine house in Arezzo in 1547 and decorated its walls and vaults with paintings. It is now a museum in his honour named the Casa Vasari , whilst his residence in Florence is also preserved. In 1563, he helped found

2209-476: Was one of the earliest authors to use the term "competition" (or "concorrenza" in Italian) in its economic sense. He used it repeatedly, and stressed the concept in his introduction to the life of Pietro Perugino , in explaining the reasons for Florentine artistic preeminence. In Vasari's view, Florentine artists excelled because they were hungry, and they were hungry because their fierce competition amongst themselves for commissions kept them so. Competition, he said,

#86913