A private income, supposedly, is the young artist's best friend. But comparatively few have been fortunate enough to have one. Henri Matisse was a notable example. The struggling creator must rely more often on a system of patronage instead. They must turn to that often difficult, usually demanding — but if you are very lucky — also discerning sector of society that can afford to pay munificent prices for their cultural pleasures.

There is nothing new in that. Think of Michelangelo and Titian competing with each other, pitting the linear purity of Florentine design against the sensual colouring of the city of Venice as they fought for the commissions from the extravagant Medici popes that would bring them fame and cash.

Rubens was not just a “prince among painters”. He was also “the painter of princes”. His fortunes were funded by his grand royal clients. Portraitists have to keep in with society as well as up with artistic fashions. They depend upon the sort of people who can afford to do nothing but just sit.

Patronage is still important. A few brash strugglers boast vulgar celebrity client lists in the hope that, where Sir Elton John leads, the rest of the world will tread. More discerning supporters such as Charles Saatchi are still highly valued.

Nowadays, and not least after Brit Art, which made visual culture so fashionable, it is companies as much as individuals who help. Museum shows depend upon big corporations that, in return, gain the kudos of their cultural clout. Private-view invitations come stamped with the logos of sponsors that are supplying the drink.

It was 1945 when Château Mouton Rothschild came up with the idea of selecting an artist every year to design labels for its bottles. These, including works by some of the most recognised Modernist names, have become collector's items. But art is no longer just for quaffers of fine vintages. Beer swiggers are more likely Brit Art connoisseurs. The Beck's label replaces that on the posh wine bottle. It presents a splendid opportunity for the publicity hungry postmodernist.

Times Recommends

• Graveyard of empires could claim more careers
• Would you live on the wrong side of the Berlin Wall?
• At last we’re getting our heads out of the sand