This article explores the evolution of art patronage from the Renaissance era to the present day, focusing on Leonardo da Vinci's 'Salvator Mundi.' The unknown patron who commissioned the painting represents a historical archetype of wealthy individuals who sought to redeem their luxury through public art sponsorship. However, contemporary art dealings, exemplified by Yves Bouvier's controversial resale of the painting to oligarch Dmitry Rybolovlev, demonstrate a shift towards profit-driven motives, highlighting the current disconnect between wealth and altruistic cultural patronage.
The story of Salvator Mundi exemplifies how the superrich today differ from past patrons of the arts, who often sponsored works for public enjoyment.
Yves Bouvier's acquisition and rapid resale of Salvator Mundi illustrates the tax evasion tactics some art dealers engage in to profit from high-value artworks.
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