The enlightened ruler of the olden times knew that in order to leave. A glorious memory in time it was necessary to associate his name with works of art. The artist found in the shadow of every authority political or religious the financial and moral support without which he could not survive. However this relationship often deprived the artist of his critical clarity since his need him a blind ally of dangerous powers. Something we often saw even in the last gloomy interwar years happen to famous names and which history took care and perhaps rightly to forget. In the end of course the only winner from this relationship was always power. In the postwar era power submitted to the cries of propaganda and the arguments of advertising discourse. Governments impressed by the philosophy and policy effectiveness. The methods and considerations of the successful commercial space.
Economic also moral confirmation made
Art protection became part of the policy of cultivating an image modeled on the dictates of advertising. But according to this logic what is of interest is the immediate and the Raster to Vector Conversion obvious and not the essential and lasting. If the opposite were the case the authorities would show a much greater interest. Artistic education which ensures duration and depth in the production of artistic work but without being able. Promise direct benefits that the authority at that particular moment requires to collect. A fact that significantly affected the artist’s relationship with power. The disparity which first appeared in the middle of the last century and peaked in recent years between. Artistic creation and its acceptance by the wider social strata. This dimension led many worthy creators either to a practical inability to create as happened with arts that required high production. Costs performing arts or to essential artistic isolation and inaction.
Power since only this can allow the birth year
At the same time however it also gave birth to the distinction between. The art of merchants and the art of creators. The former although not inherently Consumer Lead bad began to be driven by. The demands and averages of the general public rather than the vision and creative point of view of the artist with the consequence that it ended up being determined more by the laws of the market than by artistic ones. An extreme form of it is the allpowerful entertainment industry whose. Aesthetic results are often not enough to remove the label of commercial product and replace it with that of work of art. The second that is the art whose primary concern is the artist’s dialogue with his own inner world and with the language. The medium he uses found itself more than ever dependent on and possibly the dissemination. A work of art and even more so one that requires high sums for its production. Thus of course an art that likes to claim the credit of particularity found itself. Dependent on the preeminent maintenance expressed by the respective authority.