Art business, arising from the notion of the 0) artist being seen as a craftsman, can be traced to the 1) between art and society in the 17th century. Artwork in itself was not perceived to be enlightening or empowering. Although it often carried 2). ART Bellini's workshop is a good example of both notions of artist as craftsman and artist as icon. By the 1670s, at the 9). of Bellini's career, he was so famous and his workshop so busy with commissions that he barely touched sculptures. It seems that Bellini was able to use both notions of artistic identity to his advantage. Further evidence of the 10).. of the artist as an icon can be quite aptly seen in Rembrandt, an artist who, 11). was one of the first to encounter the critics' anger for mixing art with money. RELATE RELIGION connotations, art was not the object of 3) but a way of seeing. As a result, those who created it were not regarded as geniuses, and not iconised CONSEQUENCE by society. Rather, artists earned respect and money for their skills as craftsmen. Not being subject to the 5). ........of mixing 'high art' with money, artists like Bellini and Algardi were able to run their workshops transparently. Based on these 6). it is possible to argue that Renaissance and Baroque artists were able to consider business and marketing practices 7). However, it is also interesting to note that around this period the notion of artist as icon begins to emerge, as growing workshops, the professional dealer and art fairs gain 8). SIGNIFY CRITIC ASSUME OPEN IMPORTANT HIGH EMERGE ARGUE 20​