or ‘This Tableau of Celebrities is Missing it’s Maecenas’ is my reinterpretation of the tableau paintings where the 'rich and famous' are arranged in a posed way, pretending to be unobserved in a scene, a commissioned work by a wealthy patron of arts. My intention was to raise questions around the ‘institution of patronage’, or the kind of help a patron might mean. Are they making artists more reliant on populist themes for the sake of their personal survival? Or perhaps sacrificing one’s lifestyle for ethical principals by turning down support isn't the only way. Are there any 'true' patrons left in our society? This work was inspired by my personal experiences at art fairs: my chosen ‘background’ for the composition. I intended to further mock the ‘group celebrity portrait’ genre with my choice of ‘rich and famous’ being Queen Elizabeth I, a woman I greatly admire for her achievements and as a charismatic player in a very male dominated world. The other celebrity here is Picasso, whom I think of as the greatest and most successful avant-garde artist, but who had a very peculiar relationship with women and also with the art world. The non-present character is the Roman politician Gaius Maecenas, who is most famous for his support of young poets, his name becoming the eponym for a “patron of arts”. None of these celebrities are able to reimburse my efforts, of course, nor am I able to answer the questions posed in this work
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