City guild for painters and other artists in early modern Europe
Jan Gossaert, St. Luke Painting the Madonna (c. 1520–1525), Kunsthistorisches Museum, Vienna.Saint Luke Drawing the Virgin, c. 1435–1440. 137.5 x 110.8cm. Museum of Fine Arts, Boston. This was the classic subject for paintings given to the guilds
The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.[1]
One of the most famous such organizations was founded in Antwerp.[2] It continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where only members could sell paintings in the city or have a shop.[3] The early guilds in Antwerp and Bruges, setting a model that would be followed in other cities, even had their own showroom or market stall from which members could sell their paintings directly to the public.[4]
The guild of Saint Luke not only represented painters, sculptors, and other visual artists, but also—especially in the seventeenth century—dealers, amateurs, and even art lovers (the so-called liefhebbers).[5] In the medieval period most members in most places were probably manuscript illuminators, where these were in the same guild as painters on wood and cloth—in many cities they were joined with the scribes or "scriveners". In traditional guild structures, house-painters and decorators were often in the same guild. However, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made.[6] In general, guilds also made judgments on disputes between artists and other artists or their clients.[5] In such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other.
^Howe.
^Ford-Wille.
^Montias (1977): 98.
^Prak (2003): 248.
^ abPrak (2004): 249.
^Smith (1999): 432.
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daughter, a Benedictine nun near Grevelingen; however he does not appear in guild records, and his heirs did not include any children, so it has been suggested...
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and diplomat, and was a senior member of the Tournai painters' guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet...
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