The Lives of the Artists PDF é The Lives PDF/EPUB ²

The Lives of the Artists PDF é The Lives PDF/EPUB ²

The Lives of the Artists [PDF / Epub] ★ The Lives of the Artists By Giorgio Vasari – Centrumpowypadkowe.co.uk 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 Packed with facts, attributions, and of the eBook ↠ entertaining anecdotes about his contemporaries, Giorgio Vasari s collection of biographical accounts also presents a highly influential theory of the development of Renaissance artBeginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, The Lives PDF/EPUB ² dominated by the titanic figures of Leonardo, Raphael, and MichelangeloThis specially commissioned translation contains thirty six of the most important lives as well as an introduction and explanatory notesAbout the Series For overyears Oxford World s Classics has made available the widest range of literature from around the globe Each affordable volume reflects Oxford s commitment to scholarship, providing the most Lives of the MOBI ñ accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up to date bibliographies for further study, and much.


About the Author: Giorgio Vasari

Giorgio Vasari was an Italian of the eBook ↠ painter and architect, known for his famous biographies of Italian artists.



10 thoughts on “The Lives of the Artists

  1. Ted Ted says:

    This 2005 Dover edition is an abridged version of a 1967 two volume edition of Giorgio Vasari s Lives of the Most Excellent Painters, Sculptors, and Architects, often called today Lives of the Artists, or just Vasari s Lives The translation used is that of Mrs Jonathan Foster 1851 The artists included are Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, and Titian These eight artists are covered in less than 250 pages Of the eight lives, that of Michelan This 2005 Dover edition is an abridged version of a 1967 two volume edition of Giorgio Vasari s Lives of the Most Excellent Painters, Sculptors, and Architects, often called today Lives of the Artists, or just Vasari s Lives The translation used is that of Mrs Jonathan Foster 1851 The artists included are Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, and Titian These eight artists are covered in less than 250 pages Of the eight lives, that of Michelangelo takes up over 100 pages.In the review, I ll use the book s shortest chapter, on Sandro Botticelli, for examples StrengthsThe book is extremely interesting, in parts When the work was first published in Florence in 1550, Michelangelo and Titian were still living, and Botticelli, Leonardo, and Raphael had all died only 30 40 years previously The earliest of these artists, Giotto, had died in 1337, over two centuries prior to Vasari s work To read the views of these artists lives and works written by someone this close in time to them, someone who was himself immersed in the culture of the Italian Renaissance, can be intoxicating There s no doubt of the historic importance of the book It was the first history of art ever written, and though it only treated Italian art and even there tended to favor somewhat chauvinistically Florentine artists , the Introduction to the book makes many favorable points about it The minute descriptions of hundreds of works of art, though elementary, laid the groundwork for many of the elements of art history the development of compositional structure and the manipulation of color, the analysis of the meaning of changes in style and subject matter which were to be taken up by later historians view spoiler Though my edition does not specifically credit the Introduction to anyone, I assume it was written by the editor of the 1967 edition, and eminent art historian, Marilyn Aronberg Lavin hide spoiler And the prominence of Lives in the title, instead of something like works , or paintings , points to one of its strengths not only do we read short biographies of the artists as introductions to each essay, butbiographical data appears repeatedly throughout This is still a feature of modern popular articles or books on artists As distinct from thick academic books on art history, which focuson the art than the artist, if I can put it that way For example, in the 8 page chapter on Botticelli, we read that Botticelli had been paid a large sum for the paintings he executed in the recently built Sistine Chapel in the early 1480s Vasari continuesbut this sum he consumed and squandered totally during his residence in Rome, where he lived without due care, as was his habit Having completed the work assigned to him, he returned at once to Florence, where, being whimsical and eccentric, he occupied himself with commenting on a certain part of Dante, illustrating the Inferno and executing prints, over which he wasted much time and neglecting his proper occupation, he did no work, and thereby caused infinite disorder in his affairs.Finally, each chapter is illustrated with a plate unattributed For Botticelli, we have this WeaknessesHere s one of the paintings, actually a large fresco, that Botticelli did in the Sistine Chapel.The Temptations of Christ 1480 82 345 555 cm 136 219 in Vasari refers to this work as The Temptation of Christ in the Wilderness Since the fresco obviously shows on the left, center and right of the upper part the three Biblical temptations, one might wonder whether Vasari ever saw the fresco, or had forgot what he d seen when he wrote.This example illustrates that, in trying to look up a painting described or named by Vasari, it can be confusing to figure out what he s referring to unless you re reading an edition in which the translator has done this work for the reader, or perhaps an editor has added an explanatory note.Another problem is again related to our modern views of these Renaissance works of art, and is also illustrated in the Botticelli article.Here are probably the two most famous paintings now by Botticelli The Birth of Venus mid 1480s 172x279 cm 68 110 in Primavera 1482 202 314 cm 80 124 in And here s what Vasari says of them For different houses in various parts of Florence , Sandro painted many pictures of a round form, with numerous figures of women undraped Of these there are still two examples at Castello, a villa of the Duke Cosimo, one representing the birth of Venus, who is borne to earth by the Loves and Zephyrs the second also representing the figure of Venus crowned with flowers by the Graces she is here intended to denote the Spring, and the allegory is expressed by the painter with extraordinary grace.That s it But, not only is this description quite unlikely to convey anything useful to a reader about what the paintings actually look like, but the way the first sentence reads, it seems to imply that the pictures are of a round form or at best it s ambiguous.In the increasingly secular centuries since Vasari wrote, these paintings have come to overshadow Botticelli s other works to such an extent that in the book I have of the history of art History of Art , the author devotes all four pages on Botticelli to nothing but these paintings And what he says about them is immensely interesting.Finally, the last problem I had with this book is that Vasari gives many long long lists of art works described in excruciating detail, that I found pretty boring to read, especially since the book not surprisingly contained no pictures of the art.My personal verdictThe first of the above weaknesses is perhaps excusable the second is certainly hard to blame Vasari for and the third could be helped quite a bit by a copiously illustrated edition.It s likely the case that most every professional art historian has their own copy of Vasari but it would be used as a reference book, not pleasure reading For the modern reader interested in Renaissance art, Vasari s Lives is probably not the best choice But still that gossipy, judgmental, perhaps even inaccurate personal stuff about the artists can be very interesting, and, yes, pleasurable to read One just has to be prepared to skip or skim when the going gets tough.Not a good history of art but still a worthwhile recounting of the Lives of the artists Previous review Portrait of the Artist as a Young ManRandom review Samuel Johnson Is Indignant Lydia Davis short fictionNext review Science Fiction Hall of Fame, Vol Two BPrevious library review Pablo Picasso a retrospectiveNext library review Cathedral The Story of Its Construction


  2. Darwin8u Darwin8u says:

    Men of genius sometimes accomplish most when they work the least, for they are thinking out inventions and forming in their minds the perfect idea that they subsequently express with their hands. Giorgio Vasari, The Lives of the Most Excellent Painters, Sculptors, and ArchitectsI normally don t gravitate towards abridged books, but Vasari s The Lives of the Most Excellent Painters, Sculptors, and Architects is a book that needs to be 1 read by art history experts in its entirety 2000 pag Men of genius sometimes accomplish most when they work the least, for they are thinking out inventions and forming in their minds the perfect idea that they subsequently express with their hands. Giorgio Vasari, The Lives of the Most Excellent Painters, Sculptors, and ArchitectsI normally don t gravitate towards abridged books, but Vasari s The Lives of the Most Excellent Painters, Sculptors, and Architects is a book that needs to be 1 read by art history experts in its entirety 2000 pages , 2 picked through periodically, like an encyclopedic Garden of Delights , 3 read abridged, in a version that focuses on the Renaissance s best Vasari was interested in distinguishing the better from the good and the best from the better My time here is limited I only have so much time for the good In my brief life here I want to hang with the Gods not with the minor prophets I want Michelangelo not Niccol Soggi Sorry Niccol.The Modern Library Gaston du C de Vere translation, was a great version It had all the Teenage Ninja Mutant Renaissance artists, but still provided plenty of architects, sculptures and painters that I was either completely uninformed about or lacked much knowledge Vasari has a natural narrative momentum, even if he does sometimes lose his narrative genius when he s consumed with listing and describing all of an artists works It is a fine balancing act, to try and describe the artists life, work, and importance and make the essay complete, without making the piece a laundry list of oil and marble.One final note This is one of those books that seems destined to become an amazing hypertext book or app There were times while reading it I wished I was reading a digital copy that would provide links to pictures, blue prints, smoothly rotating statues, etc What I wanted was a through the looking glass, artist s version of The Elements app by Theodore Gray I want a multiverse of art, history, maps and blueprints I want to fall into a hypertext of Renaissance Florence and Rome Audiobooks or paper just fail to do justice to this beautiful subject


  3. Roy Lotz Roy Lotz says:

    An artist lives and acquires fame through his works but with the passing of time, which consumes everything, these works the first, then the second, and the third fade away. After Plutarch s Lives, Vasari s Lives of the Artists is likely the most iconic collection of biographies of famous men He published two editions of the book, the first in 1550, the second in 1568 and both found success in Vasari s lifetime and have continued to sell well ever since In life Vasari was a typical Renais An artist lives and acquires fame through his works but with the passing of time, which consumes everything, these works the first, then the second, and the third fade away. After Plutarch s Lives, Vasari s Lives of the Artists is likely the most iconic collection of biographies of famous men He published two editions of the book, the first in 1550, the second in 1568 and both found success in Vasari s lifetime and have continued to sell well ever since In life Vasari was a typical Renaissance man, achieving fame for his paintings he decorated the Palazzo Vecchio and his architecture he was responsible for the loggia of the Uffizi , in addition to his work as a biographer Granted, his paintings are not highly regarded nowadays though many are pleasing enough to my eyes but this posthumous verdict did not prevent him from making a fine living And when you write the first book of art history in the history of art, the rest hardly matters The edition I own is highly abridged, as are nearly all popular versions, since the original contains dozens upon dozens of painters, sculptors, and architects most of whom the casual reader does not know of or care for This explains why most of the Lives are so short Indeed, fans of any particular Renaissance artist are liable to be disappointed by Vasari s treatment He runs through Sandro Botticelli in all of ten pages, for example, barely pausing to mention the Birth of Venus Indeed, many of these biographies are hardly biographies at all, just extended catalogues of works This is certainly useful for the art historian though Vasari made many mistakes but it does not make for electrifying reading.The modern psychoanalyzing mode of artistic biographies was, of course, entirely alien to Vasari, and he seems to regard the artist s personality as a source of gossip but not of insight This does not prevent him from including many good stories Like Plutarch himself, Vasari is rich in anecdote and, as in Plutarch, half of them are probably false Fact or fiction, however, a good story is preferable to a dry fact We hear of Cimabue agreeing to take on Giotto as a pupil, after seeing the young boy scratching on a stone or of Paolo Uccello staying up long nights to work on problems of perspective Whether these stories help us to understand the paintings is doubtful but they do help to bring alive this amazing time in history.Vasari begins the book with a sketch of the history of art as he understood it His opinion is not a masterpiece of subtlety In essence, the Greeks and Romans understood that art begins by copying nature, and so produced excellent works then art fell into barbarism Vasari coined the term gothic to describe medieval art in which the ancient knowledge was lost and artists had no knowledge of proper technique finally the painter Giotto came and revived the arts, inaugurating a process that culminated in the works of Michelangelo I must say that this view, though littlethan naked prejudice, is at least refreshing in Vasari s conviction that art was ascending and culminating in his own epoch Most of us are disposed to think it is declining It is striking that Michelangelo s historic importance was understood even during his own lifetime This was not an age of poor Van Goghs working in lonely shacks The great artists were recognized and rewarded when they lived and younger artists were seen to have surpassed their masters novel concepts in our romantic age.The Life of Michelangelo, whom Vasari knew and worshipped, is by far the longest and forms the core of this collection Indeed, all the other lives can be seen as mere leadup to the great Florentine, who fulfils all the promise of former ages Vasari here turns from chronicler to hagiographer, praising Michelangelo with every breath You might even say that Vasari turns into quite the Boswell, including various bits of Michelangelo s conversation, and also several letters written to him by the great artist, as if to prove that Michelangelo really was his friend All this makes for good reading, even if the worshipful tone is grating The second longest Life in my collection is that of another Florentine Vasari was a fierce patriot of his home city , Filippo Brunelleschi This life is perhaps even better than that of Michelangelo, as Vasari charts the squabbles and drama behind the scenes of Brunelleschi s dome.Vasari s style is easygoing and almost conversational, and the pages go by quickly He strikes me as a man full of shallow opinions but of a generous mind and a steady judgment This book full of errors, lacking any historical context, and greatly out of step with modern opinion could hardly be read as a standalone volume on Renaissance painting But every book on the subject borrows, knowingly or unknowingly, from Vasari, who has given bread to scholars and delight to readers for generations with this charming book.I have endeavored not only to record what the artists have done but to distinguish between the good, the better, and the best, and to note with some care the methods, manners, styles, behavior, and ideas of the painters and sculptors I have tried as well as I know how to help people who cannot find out for themselves to understand the sources and origins of various styles, and the reasons for the improvement or decline of the arts at various times and among different people


  4. Myles Myles says:

    Interesting to read about all the works that no longer exist Also really useful in that it makes these larger than life artists at least semi human Lots of moments like this Then Michaelangelo made a model in wax of a young David with a sling in his hand, and began to work in S Maria del Fiore, setting up a hoarding round the marble, and working at it continually without any seeing it until he had brought it to perfection Master Simone had so spoilt the marble that in some places there was Interesting to read about all the works that no longer exist Also really useful in that it makes these larger than life artists at least semi human Lots of moments like this Then Michaelangelo made a model in wax of a young David with a sling in his hand, and began to work in S Maria del Fiore, setting up a hoarding round the marble, and working at it continually without any seeing it until he had brought it to perfection Master Simone had so spoilt the marble that in some places there was not enough left for Michaelangelo s purpose, and certainly it was a miracle restoring thus one that was dead When Piero Soderini saw it, it pleased him much, but he said to Michaelangelo, who was engaged in retouching it in certain places, that he thought the nose was too thick Michaelangelo, perceiving that the Gonfaloniere was below the statue, and could not see it truly, to satisfy him went up the scaffold, taking a chisel in his left hand with a little marble dust, and began to work with his chisel, letting a little dust fall now and then, but not touching the nose Then looking down to the Gonfaloniere, who was watching, he said, Look at it now It pleases me better, said the Gonfaloniere you have given it life So Michaelangelo came down pitying those who make a show of understanding matters about which they really know nothing I m into it, especially the lives of Masaccio and Fra Angelico


  5. Falk Falk says:

    But what inflicted incomparably greater damage and loss on the arts than the things we have mentioned Constantine s move to Byzantium, invasions, etc was the fervent enthusiasm of the new Christian religion After long and bloody combat, Christianity, aided by a host of miracles and the burning sincerity of its adherents, defeated and wiped out the old faith of the pagans Then with great fervour and diligence it strove to cast out and utterly destroy every last possible occasion of sin andBut what inflicted incomparably greater damage and loss on the arts than the things we have mentioned Constantine s move to Byzantium, invasions, etc was the fervent enthusiasm of the new Christian religion After long and bloody combat, Christianity, aided by a host of miracles and the burning sincerity of its adherents, defeated and wiped out the old faith of the pagans Then with great fervour and diligence it strove to cast out and utterly destroy every last possible occasion of sin and in doing so it ruined or demolished all the marvellous statues, besides the other sculptures, the pictures, mosaics and ornaments representing the false pagan gods and as well as this it destroyed countless memorials and inscriptions left in honour of illustrious persons who had been commemorated by the genius of the ancient world in statues and other public adornments Moreover, in order to construct churches for their own services the Christians destroyed the sacred temples of the pagan idols To embellish and and heighten the original magnificence of St Peter s they despoiled of its stone columns the mausoleum of Hadrian today called Castel Sant Angelo and they treated in the same way many buildings whose ruins still exist These things were done by the Christians not out of hatred for the arts but in order to humiliate and overthrow the pagan gods Nevertheless, their tremendous zeal was responsible for inflicting severe damage on the practice of the arts, which then fell into total confusionFrom Vasari s Preface pp 36 7 Vasari may have taken his cue from Petrarch, who wrote in his poem Africa, written in 1338, a year after he first visited Rome, addressing the poem itselffor you, if you should long outlive me, as my soul hopes and wishes, there is perhaps a better age in store this slumber of forgetfulness will not last forever After the darkness has been dispelled, our grandsons will be able to walk back into the pure radiance of the past A century after Petrarch, Leon Battista Alberti, the pioneer of Renaissance art theory, wrote in On Painting De picturaalong similar lines as Vasari would do another century laterI used to marvel and at the same time to grieve that so many excellent and superior arts and sciences from our most vigorous antique past could now seem lacking and almost wholly lost We know from remaining works and through references to them that they were once widespread Painters, sculptors, architects, musicians, geometricians, rhetoricians, seers and similar noble and amazing intellects are very rarely found today and there are few to praise them It must be admitted that it was less difficult for the Ancients because they had models to imitate and from which they could learn to come to a knowledge of those supreme arts which today are most difficult for us Our fame ought to be much greater, then, if we discover unheard of and never before seen arts and sciences without teachers or without any model whatsoever Who could ever be hard or envious enough to fail to praise Pippo the architect on seeing here such a large structure, rising above the skies, ample to cover with its shadow all the Tuscan people, and constructed without the aid of centering or great quantity of wood if I judge rightly, it was probably unknown and unthought of among the Ancients But there will be other places, Filippo, to tell of your fame, of the virtues of our Donato Donatello , and of the others who are most pleasing to me by their deedsAlberti, On Painting, Prologue addressed to Filippo Brunelleschi 1435 Vasari thought of the achievements in art and architecture of the ancient Greeks and Romans as a Golden Age, and that of the Medieval period which followed as a period of decline He hated Gothic art and architecture that s also why he chose the term Gothic it was about the worst term he could think of, and he used it as a synonym for barbaric With the gradual rediscovery of the ancient works of art those which were produced in Corinth, Athens, Rome, and other famous cities, before the time of Constantine , he sees a new beginninghelped by some subtle influence in the very air of Italy, the new generations started to purge their minds of the grossness of the past so successfully that in 1250 the heaven took pity on the talented men who were being born in Tuscany Cimabue et al and led them back to the pristine forms Before then, during the years after Rome was sacked and devastadted and swept by fire, men had been able to see the remains of arches and colossi, statues, pillars and carved columns but until the period we are discussing they had no idea how to use or profit from this fine workp 45 The Lives consists of three parts Vasari writes in his Preface to Part TwoI have divided the artists into three sections or, shall we say, periods, each with its own recognizably distinct character, running from the time of the rebirth of the arts up to our own timesThe first part includes Cimabue and Giotto artists thatmark a new beginning, opening the way for the better work which followed Then in the second period there was clearly a considerable improvement in invention and execution, withdesign, better style, and acareful finishGhiberti, Brunelleschi, Donatello, Fra Angelico, Alberti, Filippo Lippi, Botticelli, etc This is followed by the third period whenart has achieved everything possible in the imitation of nature and has progressed so far that is thasreason to fear slipping back than to expect ever to make further advancespp 84 5 The third part includes all the giants of Renaissance art Leonardo, Giorgione, Correggio, Raphael, Michelangelo and Titian have been selected for this edition The Life of Michelangelo is the longest by far, and Vasari was proud of being able to call himself his friend Michelangelo wasn t all that happy about everything Vasari wrote Possibly he considered Vasari most of all a useful contact between himself and Duke Cosimo de Medici in Florence while he was working in Rome and later he asked his friend Ascanio Condivi to write about his life and to correct some of the things Vasari had got wrong I haven t read Condivi s Vita yet, but I enjoyed Vasari s account in spite of Michelangelo s objections to it In fact I found even his gushing over Michelangelo both amusing and understandable, and by then I had gotten used to Vasari s style and knew his strengths and weaknesses, so I had no problem bearing with him Anyway, Vasari later revised his account of Michelangelo based on that of Condivi, and he provides a wealth of information The revised and enlarged edition of the Lives was published in 1568, and it is selections from this later edition that has been translated here George Bull writes in his IntroductionThe letters of introduction to Cosimo for the 1550 and 1568 editions of the Lives echo in the obsequiousness other letters addressed by artists and writers to the Medici notably Machiavelli s letter to Cosimo s father, Lorenzo, at the head of The Prince the humble posture adopted in these dedications reflected perhaps, standard modes of address as much as genuine servility More interesting is the manner in which both Machiavelli and Vasari interpreted political and art history, respectively, in terms of inevitable progression and decline and yet, paradoxically, suggested that the decline could be arrested by genius, by the virt of a political leader or artist, endowed by nature with great ability and taught to emulate the perfection reached in the past This affirmation of virt has been called the fundamental theme of the Livesp 15In their entirety, the Lives may fairly be called a work of art On one great canvas Vasari painted a harmonious and glowing composition which sustains with ease the task of conveying the revolutionary nature of of what happened in Italian art between the fourteenth and sixteenth centuries He lifted the story of Tuscan art to the plane of the heroic, stretching back to the quasi legendary figures of Cimabue and Giotto, and forward to the inspired Michelangelop 16 As Bull also writes, it can get a bit boring at times, but you keep reading because when he really likes a piece of art, Vasari s enthusiasm often gives his style a lift and makes him write with flair And there are endless examples of that in this book He s also emphatically Florence centric, which gets kind of entertaining, especially as the book progresses And Vasari provides plenty of amusing anecdotes and gossip, so that this in a way makes up for the occasional parts where the writing just drags along There s e.g the story of Giotto s O, and of how Brunelleschi, to illustrate how his dome could be self supporting, made an egg stand upright on a slab of marble by hitting one end of the egg hard against it, and later how he feigned illness to expose the fact that Lorenzo Ghiberti who received the same pay was not competent to take over the work on the dome in his absence Stories and anecdotes you may have read before, but this is where they are first told.There s also this great anecdote about MichelangeloWhen he saw the David in place at the entrance to the Palazzo della Signoria Piero Soderini was delighted but while Michelangelo was retouching it he remarked that he though the nose was too thick Michelangelo noticing that Gonfalonier was standing beneath the Giant and that from where he was he could not see the figure properly, to satisfy him climbed on the scaffolding by the shoulders, seized hold of a chisel in his left hand, together with some of the marble dust lying on the planks, and as he tapped lightly with the chisel let the dust fall little by little, without altering anything Then he looked down at the Gonfalonier, who had stopped to watch, and said Now look at it Ah, that s much better, replied Soderini Now you ve really brought it to life And then Michelangelo climbed down, feeling sorry for those critics who talk nonsense in the hope of appearing well informedp 338 9 The Renaissance gave birth to great art among other things , and also to the first art history Vasari was even the first to use the term Renaissance rinascita in print One of his preoccupations was disegno drawing and making preparatory sketches was something he saw as being of prime importance for a painter I can agree with this to a large degree, but this and other preoccupations could make him unjust towards some painters He also at times makes mistakes when describing paintings, getting them mixed up, etc possibly because he hadn t actually seen them, but had to rely on hearsay These are facts that doesnt really diminish his accomplishment with the Lives, because for a large part his aesthetic judgement was acute and to the point Nevertheless it is a pity that because he was seen as an authority for such a long period of time, many of these mistakes were perpetuated, a few even into our own times But however that may be, by delving into Vasari s Lives you re bound to add something new to your knowledge about most of the great artists he has written about and not the least do you get to know the art world of the early 16th century quite intimately as seen through the eyes of Vasari For me this was not a book to simply read straight through I ve been taking my time and mostly enjoying bite size chunks of it and letting the book rest for a while in between readings These are all the major artists and architects of the period between the fourteenth and sixteenth centuries after all In this edition, George Bull has made his selection from the top shelf Now I ll have to get hold of the second volume of his excellent translation of the Lives as well. This work is licensed under a Creative Commons Attribution NonCommercial ShareAlike 3.0 Unported License


  6. Shelby Shelby says:

    Didn t hate it, didn t love it It felt repetitive after the 200th page and it becameabout finishing rather than learning about Renaissance artists.


  7. Emma Iadanza Emma Iadanza says:

    I absolutely love the Renaissance The history, the art, the literature, everything I find it fascinating and amazing And windows into the history, like this book, are amazing And, indeed, this book was wonderful.Vasari was architect to Duke Cosimo I de Medici he built the Uffizi gallery, the Vasari Corridor, and did various paintings and such, including the interior of the Duomo and also some portrait I personally do not love all of his art In any case, he was also the first art historia I absolutely love the Renaissance The history, the art, the literature, everything I find it fascinating and amazing And windows into the history, like this book, are amazing And, indeed, this book was wonderful.Vasari was architect to Duke Cosimo I de Medici he built the Uffizi gallery, the Vasari Corridor, and did various paintings and such, including the interior of the Duomo and also some portrait I personally do not love all of his art In any case, he was also the first art historian, and I highly respect that.He spent a lot of time going around looking for information for this book of his And I m very grateful because some of the little anecdotes he wrote in here are hilarious It was quite amusing.But th ecomplete thing is so intensely long some 2000 pages I believe in full that people never print it in its entirety Thus I ve spent months looking for a good edition I have one that s falling apart that I bought in Rome, and every time I open it I have an allergy attack And then I found this edition at Strand in Manhattan It s pretty old and out of print , but it has a good selection of the artists that I like The introduction was good and the translation was easily legible.In any case, you have to take the rest of the book with a grain of salt He gets a lot of his dates and details wrong either that, or he was just really bad at math which I slightly doubt His ideas on the origins of art are fascinating.His writing style was just fine but I forgive him because it s a translation, and he was an artist not a philosopher But each Life follows a formula general statement list of everything the artist has ever done cute anecdotes about their life I expected it to beof a biography than a catalog But sometimes he contradicts himself and it annoys me For example Giotto was the best artist ever and then 50 pages later Giotto was horrible, he got everything wrong Also, he sometimes spoke in the 3rd person about himself, which I found weird He also doted so much on Michelangelo that I had to skip half of that section because I couldn t stand it any My favorite life, by far, was that of Brunelleschi It was very amusing.In any case I highly suggest this book to anyone who even remotely likes Renaissance art It is fun and amusing and you can choose to read only a few of the selections, rather than the whole thing


  8. Amber Amber says:

    I read most of this when I was in college, studying art history For fun And maybe to impress my professor because I was taking a survey course of Italian Renaissance art.I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF s It s fun if you re into art history or if you re interested in totally non objective information on art and arti I read most of this when I was in college, studying art history For fun And maybe to impress my professor because I was taking a survey course of Italian Renaissance art.I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF s It s fun if you re into art history or if you re interested in totally non objective information on art and artists


  9. Erik Erik says:

    This is my first candidate for the what if you were marooned on a desert island list.


  10. Bill Gusky Bill Gusky says:

    If you care about art it s a must read.


Leave a Reply

Your email address will not be published. Required fields are marked *