Art patronage is a field that is intimately connected with the ego and personality of the patron. History of art patronage is filled with examples of whim and eccentricity, which could propel the status of mediocre artists as easily as those of a genius. It should not be forgotten that Salieri and Mozart were equally in favour with their patrons during their lives. Yet history alone seems to be the great equaliser and it is only with hindsight that we are able to determine both the measure of genius and the measure of the patron. Viewed historically, patrons can be seen to have caught the wave of history in supporting genius, but rarely have prevailed in fundamentally shaping either genius or art history. Nevertheless, patronage has often been a way of delivering to the patron a form of separate and individual celebrity and historical importance even if it was not ad idem with the one necessarily intended by the patron. The Medici’s may have wanted to achieve historical significance as shapers of history but will best be remembered for supporting Michaelangelo but never for creating him. Empirical study of the cultural and social origins of most artists of note would indicate that they achieved recognition regardless of origin or measure of patronage. Gertrude Stein may have wanted to reach fame as a writer, but her celebrity is largely attributed to patronage of Picasso and Matisse.
The historicity of the phenomenon makes the internet a dubious factual aid in assessing the influence of individual patrons, since it is only in hindsight that we are able to determine the their impact and its nature. What we can determine with limited success is the existence of patronage and its intent. In the 21st century patronage express itself through a variety of means from sponsor-based to philanthropic, each with a differentiated logistical operation, but generally, with the same objective – to make a mark and to be seen to change the world. To the extent that patronage is about outward show, the internet can be a useful tool in highlighting patronage activities from grants, bequests and sponsorships. Integration of patronage with corporate sponsorship practice in recent times, the difficulty of ascertaining importance of individuals becomes even more oblique using public sources. Nonetheless the role of individuals in effecting patronage activities, is far harder to ascertain utilising the net. Similarly, on-line resources available do not provide sufficient data to ascertain impact on the art market of certain collecting and patronage practices. At best the evidence is anecdotal, such as the current notion that the present trend towards figurative and landscape painting among emerging artists in Britain has been single-handedly initiated by Charles Saatchi, “post-fire” revision of his collecting practice.