Le Vite de' più eccellenti pittori, scultori, e architettori da Cimabue insino a' tempi nostri

Le Vite de' più eccellenti pittori, scultori, e architettori da Cimabue insino a' tempi nostri➹ [Read] ➵ Le Vite de' più eccellenti pittori, scultori, e architettori da Cimabue insino a' tempi nostri By Giorgio Vasari ➼ – Oaklandjobs.co.uk Einzigartiger Begleiter auf jeder ItalienreiseAnekdotenreich und sachkundig schildert der «Vater der Kunstgeschichte» Leben und Werk der berühmtesten Künstler Italiens von Cimabue über Botticelli de' più PDF É Einzigartiger Begleiter auf jeder ItalienreiseAnekdotenreich und sachkundig schildert der «Vater der Kunstgeschichte» Leben und Werk der berühmtesten Künstler Italiens von Cimabue über Botticelli und da Vinci Le Vite PDF/EPUB ² bis Michelangelo Vasaris Viten aus drei Jahrhunderten sind eine faszinierende uellensammlung und ein einzigartiger Begleiter auf jeder Italienreise Vite de' più eccellenti pittori, ePUB ✓ Giorgio Vasari gehört zu den einflussreichsten Persönlichkeiten der italienischen Vite de' più PDF/EPUB ¾ Renaissance Seine Künstlerporträts haben längst ihren festen Platz in der Geschichte der italienischen Literatur Für den interessierten Italienreisenden der sich mit Kunstdenkmälern des Landes vertraut machen möchte Vite de' più eccellenti pittori, ePUB ✓ sind sie nach wie vor unentbehrlichGiorgio Vasari gehört zu den einflussreichsten Persönlichkeiten der italienischen Renaissance Selbst Maler und Architekt sammelte er auf seinen Reisen durch Italien schriftliche und mündliche Zeugnisse besichtigte unermüdlich Kunstwerke zog in regem Briefwechsel Informationen ein und gab die Biographien heraus durch die er zum «Vater der Kunstgeschichte» wurde Vasari erweist sich dabei als überaus versierter Autor dessen Prosa längst ihren festen Platz in der Geschichte der italienischen Literatur hat Er weiß die von ihm porträtierten Künstler durch Anekdoten und Aussprüche so in Szene zu setzen dass die Viten den Leser immer wieder in ihren Bann ziehen Der Band ist für den interessierten Italienreisenden der sich mit Kunstdenkmälern des Landes und deren Schöpfern vertraut machen möchte nach wie vor unentbehrlich Inhalt Giovanni Cimabue Nicola und Giovanni Pisano Giotto Buonamico Buffalmacco Simone Martini Duccio di Buoninsegna Jacopo della uercia Paolo Uccello Lorenzo Ghiberti Masaccio Donatello Piero della Francesca Fra Filippo Lippi Jacopo Giovanni und Gentile Bellini Antonio und Piero Pollaiuolo Sandro Botticelli Andrea del Verroccio Andrea Mantegna Leonardo da Vinci Giorgione da Castelfranco Antonio da Correggio Bramante Raffael Andrea del Sarto Michelangelo. 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 pagesIn 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 spoilerThough 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 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 subseuently 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 Niccolò Soggi Sorry NiccolòThe Modern LibraryGaston 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 marbleOne 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 I think I’m actually reading the unabridged version which is sooooo much longer than this version An artist lives and acuires 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 readingThe 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 historyVasari 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 techniue; 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 little than 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 ageThe 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 uite 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 suabbles and drama behind the scenes of Brunelleschi’s domeVasari’s style is easygoing and almost conversational and the pages go by uickly 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 bookI 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 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 nothingI'm into it especially the lives of Masaccio and Fra Angelico 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; 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 confusion From Vasari’s Preface pp 36 7Vasari 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 itself for 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 pastA century after Petrarch Leon Battista Alberti the pioneer of Renaissance art theory wrote in On Painting De pictura along similar lines as Vasari would do another century later I used to marvel and at the same time to grieve that so many excellent and superior arts and sciences from our most vigorous antiue 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 uantity 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 deeds Alberti On Painting Prologue addressed to Filippo Brunelleschi 1435Vasari 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 beginning helped 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 work p 45 The Lives consists of three parts Vasari writes in his Preface to Part Two I 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 times The first part includes Cimabue and Giotto – artists that mark 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 with design better style and a careful finish Ghiberti Brunelleschi Donatello Fra Angelico Alberti Filippo Lippi Botticelli etc This is followed by the third period when art has achieved everything possible in the imitation of nature and has progressed so far that is thas reason to fear slipping back than to expect ever to make further advances pp 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 Introduction “The letters of introduction to Cosimo for the 1550 and 1568 editions of the Lives echo in the obseuiousness 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 virtù 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 virtù has been called the ‘fundamental theme of the Lives’” p 15 “In 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 uasi legendary figures of Cimabue and Giotto and forward to the inspired Michelangelo” p 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 eg 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 toldThere’s also this great anecdote about Michelangelo When 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 informed” p 338 9The 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 uite 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 30 Unported License Didn't hate it didn't love it It felt repetitive after the 200th page and it became about finishing rather than learning about Renaissance artists 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 wonderfulVasari 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 thatHe 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 uite amusingBut 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 legibleIn 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 fascinatingHis 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 be of 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 anyMy favorite life by far was that of Brunelleschi It was very amusingIn 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 My undergraduate degree is in Art History so I've read my fair share of Art History books It was interesting to me the way he presented artists which was very different than any Art History book I've ever read Most Modern Art Historians tell you why the artist is important and what he or she did for art but I've never heard it said that this artist's work was so beautiful that you wonder if he is human or if his hand was touched by God That's how Vasari presents the artists He puts a lot of his own opinion in the biography of these artists and their works I really enjoyed reading his opinion because by the third artist I realized that sometimes Vasari's opinion of what was great art was completely different than my own opinions It made me think that maybe it's because so much has happened in art through the centuries that time and modernism may have changed the way we look at art It was very interesting I even read all of the biography of Michalangelo even though he wasn't my favorite artist to begin with Vasari loved him so much that I think I like Michaelangelo better now I also re discovered some artists such as Antonio da Corregio and Andrea Mantegna who I forgot about though I do not know why 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 artI 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

Le Vite de' più eccellenti pittori, scultori, e
  • Hardcover
  • 680 pages
  • Le Vite de' più eccellenti pittori, scultori, e architettori da Cimabue insino a' tempi nostri
  • Giorgio Vasari
  • German
  • 05 March 2016
  • 9783717514886