The Lives of the Artists (Oxford World's Classics)

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The subject for the art commissions in these days was mostly biblical scenes, some mythology, portraits, and how many times is it possible to be excited to read the description of the nativity or annunciation for example?

Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Giorgio Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art. Dòng này có nhiều kiểu dáng và màu sắc khác nhau để phù hợp với thiết kế nội thất của phòng ngủ và ngôi nhà. The _ga cookie, installed by Google Analytics, calculates visitor, session and campaign data and also keeps track of site usage for the site's analytics report. This was seen by all mankind in Leonardo da Vinci, in whom, besides a beauty of body never sufficiently extolled, there was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease. Vasari also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio.He was the first to use the word ‘Renaissance’ in a cultural context; and he also coined the term ‘Gothic Art’ in describing the creative resurgence of northern Europe. I discovered this work by accident and am very glad that I did, as it is the bible of Italian renaissance art biography. Vasari dismisses Bazzi's work as lazy and offensive, despite the artist's having been named a Cavaliere di Cristo by Pope Leo X and having received important commissions for the Villa Farnese and other sites. From world-renowned curator Hans Ulrich Obrist, Lives of the Artists, Lives of the Architects offers a unique opportunity to learn about the lives and creativity of the world's leading artistsHans Ulrich Obrist has been conducting ongoing conversations with the world's greatest living artists since he began in Switzerland, aged 19, with Fischli and Weiss. Unlike these life artists, those under discussion here are uninterested in the documentary or narrative framing of their lives, nor are they committed to the veracity of the tales they use in their works.

Vasari's Vite has been described as "by far the most influential single text for the history of Renaissance art" [8] and "the most important work of Renaissance biography of artists". Vasari's term, applied to the change in artistic styles with the work of Giotto, eventually would become the French term Renaissance (rebirth) widely applied to the era that followed. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

Giotto’s perfect O, Brunelleschi challenging competitive architects on how to balance an egg, Raphael convincing the pope to give Michelangelo the job to paint the vault of the Sistine Chapel in hope he would fail, only to end up creating the best painting in history. No matter how much the author was trying to share his admiration and described the beauty of the work, in the world of the visual arts visual information is crucial. Despite the ease with which we merge the figure of Warhol with today’s entertainment-obsessed society, there is little interpretation of the relationship between his construction of his persona and its direct impact on his art. These volumes 1-3 talk of many of the great artists such as Donatello; Botticelli, Leonardo da Vinci, Giovanna Botista Rosso, Andrea del Sarto, and many many more. It is far from neutral and Vasari’s judgment is sometimes obviously (more on that in the film I recommend at the end of this review).

In 1547, he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni. During this early yet hyperactive phase in his life, his indecision about his vocation produced a maelstrom of creative activities. A devout Nietzschean since early adulthood, he firmly believed that self-generated myth was one of the essential elements in his nihilistic programme. In 155o he published his volume “The Lives of the Most Excellent Painters, Sculptors, and Architects,” an exhaustive (and imaginative) record of the artists of his day, and those who came before.The inevitable intertwining of an artist’s colourful biography and aesthetic genius has provided fodder for scholarly speculation, populist fascination and plain, old-fashioned entertainment. The animosity and rivalry between Leonardo and Michelangelo, as well as Raphael sneaking in to see Michelangelo’s Sistine Chapel before it was done, and adapting his own art as a result.