Patron of the arts in the context of "Ivan Mazepa"

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⭐ Core Definition: Patron of the arts

Patronage is the support, encouragement, privilege, or financial aid that an organization or individual bestows on another. In the history of art, art patronage refers to the support that princes, popes, and other wealthy and influential people have provided to artists such as musicians, painters, and sculptors. It can also refer to the right of bestowing offices or church benefices, the business given to a store by a regular customer, and the guardianship of saints. The word patron derives from the Latin patronus ('patron'), one who gives benefits to his clients (see patronage in ancient Rome).

In some countries, the term is used to describe political patronage or patronal politics, which is the use of state resources to reward individuals for their electoral support. Some patronage systems are legal, as in the Canadian tradition of the prime minister appointing senators and the heads of a number of commissions and agencies; in many cases, these appointments go to people who have supported the political party of the prime minister. The term is also used to refer to a type of corruption or favoritism in which a party in power rewards groups, families, or ethnicities for their electoral support illegally using gifts, appointments to positions, or government contracts.

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👉 Patron of the arts in the context of Ivan Mazepa

Ivan Stepanovych Mazepa (Old Ukrainian: Іоан(ъ) / Іван(ъ) Мазепа; Ukrainian: Іван Степанович Мазепа; Polish: Jan Mazepa-Kołodyński; 30 March [O.S. 20 March] 1639 – 2 October [O.S. 21 September] 1709) was the Hetman of the Zaporozhian Host and the Left-bank Ukraine in 1687–1708. The historical events of Mazepa's life have inspired many literary, artistic and musical works. He was famous as a patron of the arts.

Mazepa played an important role in the Battle of Poltava (1709), where after learning that Tsar Peter I intended to relieve him as acting hetman of Zaporozhian Host and to replace him with Alexander Menshikov, he defected from his army and sided with King Charles XII of Sweden. The political consequences and interpretation of this defection have resonated in the national histories both of Russia and of Ukraine.

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Patron of the arts in the context of Francis I of France

Francis I (French: François I; Middle French: Françoys; 12 September 1494 – 31 March 1547) was King of France from 1515 until his death in 1547. He was the son of Charles, Count of Angoulême, and Louise of Savoy. He succeeded his first cousin once removed and father-in-law Louis XII, who died without a legitimate son.

A prodigious patron of the arts, Francis promoted the emergent French Renaissance by attracting many Italian artists to work for him, including Leonardo da Vinci, who brought the Mona Lisa, which Francis had acquired. Francis's reign saw important cultural changes with the growth of central power in France, the spread of humanism and Protestantism, and the beginning of French exploration of the New World. Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire.

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Patron of the arts in the context of Ludwig I of Bavaria

Ludwig I or Louis I (German: Ludwig I.; 25 August 1786 – 29 February 1868) was King of Bavaria from 1825 until the 1848 revolutions in the German states. When he was crown prince, he was involved in the Napoleonic Wars. As king, he encouraged Bavaria's industrialization, initiating the Ludwig Canal between the rivers Main and the Danube. In 1835, the first German railway was constructed in his domain, between Fürth and Nuremberg, with his Bavaria joining the Zollverein economic union in 1834. After the July Revolution of 1830 in France, Ludwig's previous liberal policy became increasingly repressive; in 1844, Ludwig was confronted during the Beer riots in Bavaria. During the revolutions of 1848 he faced increasing protests and demonstrations by students and the middle classes. On 20 March 1848, he abdicated in favour of his eldest son, Maximilian.

Ludwig lived another 20 years after his abdication and remained influential. An admirer of ancient Greece and the Italian Renaissance, he patronized the arts and commissioned several neoclassical buildings, especially in Munich. He was an avid collector of arts, amassing paintings from the Early German and Early Dutch periods as well as Graeco-Roman sculptures.

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Patron of the arts in the context of Stefan Lazarević

Stefan Lazarević (Serbian Cyrillic: Стефан Лазаревић; c. 1377 – 19 July 1427), also known as Stefan the Tall (Serbian: Стефан Високи, romanizedStefan Visoki), was a Serbian ruler as prince (1389–1402) and despot (1402–1427). He was also a diplomat, legislator, ktetor, patron of the arts, poet and one of the founding members of the Order of the Dragon. The son of Prince Lazar Hrebeljanović, he was regarded as one of the finest knights and military leaders of his time. After the death of his father at the Battle of Kosovo, he became ruler of Moravian Serbia and ruled with his mother Milica (a Nemanjić), until he reached adulthood in 1393. Stefan led troops in several battles as an Ottoman vassal, until asserting independence after receiving the title of despot from the Byzantines in 1402.

Becoming a Hungarian ally in 1403–04, he received large possessions, including the important Belgrade and Golubac Fortress. He also held the superior rank in the chivalric Order of the Dragon. During his reign, there was a long conflict with his nephew Đurađ Branković, which ended in 1412. Lazarević also inherited Zeta, and waged war against Venice. Since he was childless, he designated his nephew Đurađ as heir in 1426, a year before his death.

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Patron of the arts in the context of Archduke Leopold Wilhelm of Austria

Archduke Leopold Wilhelm of Austria (5 January 1614 – 20 November 1662), younger brother of Emperor Ferdinand III, was an Austrian soldier, administrator and patron of the arts.

He held a number of military commands, with limited success, and served as Governor of the Spanish Netherlands, before returning to Vienna in 1656. Despite being nominated as Holy Roman Emperor after Ferdinand's death in 1657, he stood aside in favour of his nephew Leopold I.

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