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Relevant bibliographies by topics / Vasari, Giorgio

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Academic literature on the topic 'Vasari, Giorgio'

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Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Vasari, Giorgio"

1

McIver, Katherine A., and Leon Satkowski. "Giorgio Vasari, Architect and Courtier." Sixteenth Century Journal 26, no. 4 (1995): 1053. http://dx.doi.org/10.2307/2543885.

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Kramer, Alice, and Patricia Lee Rubin. "Giorgio Vasari: Art and History." Sixteenth Century Journal 27, no. 3 (1996): 973. http://dx.doi.org/10.2307/2544131.

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Sohm, Philip. "Giving Vasari the Giorgio Treatment." I Tatti Studies in the Italian Renaissance 18, no. 1 (March 2015): 61–111. http://dx.doi.org/10.1086/680726.

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Dempsey, Charles, and Patricia Lee Rubin. "Giorgio Vasari: Art and History." American Historical Review 102, no. 2 (April 1997): 478. http://dx.doi.org/10.2307/2170905.

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Mérieux, Véronique. "I Ragionamenti de Giorgio Vasari (1567)." Italies, no. 9 (October 1, 2005): 71–94. http://dx.doi.org/10.4000/italies.204.

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Cheney, Liana De Girolami. "Giorgio Vasari at 500: An Homage." Explorations in Renaissance Culture 39, no. 1 (December 2, 2013): 1–4. http://dx.doi.org/10.1163/23526963-90000434.

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Cheney, Liana. "Giorgio Vasari and Niccolò Machiavelli’s Medicean Appetite for Peace and Glory." Journal of Arts and Humanities 5, no. 12 (December 17, 2016): 35. http://dx.doi.org/10.18533/journal.v5i12.1060.

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<p>This study examines the literary and visual connections between war and peace as a cultural diplomacy made by both Niccolò Machiavelli (1469-1527) and Giorgio Vasari (1511-1574). The approach here is iconographical, focusing on three points. First, Machiavelli’s notions of condottiere, virtù, and war and peace in The Art of War (1521) are discussed in relation to Renaissance imagery, particularly in that produced as a result of Medicean patronage. Second, Vasari’s battle cycle in the Salone dei Cinquecento of the Palazzo Vecchio (1555-60) in Florence is examined within the context of peace as revealed in Renaissance art and emblems. Finally, Vasari’s assimilation of Machiavelli’s notions of the art of war are interpreted in relation to the painting cycle, which visually embodies the paradox of war and peace discussed in Machiavelli’s writing. </p>

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Moffitt, John F. "A Hidden Sphinx by Agnolo Bronzino, “ex tabula Cebetis Thebani”." Renaissance Quarterly 46, no. 2 (1993): 277–307. http://dx.doi.org/10.2307/3039062.

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In 1568 Giorgio Vasari Described (from already dim memories) a now-famous allegorical painting that had been painted by Bronzino (Agnolo Allori) for Cosimo I de’ Medici. Now usually known as The Exposure of Luxury, the picture in the National Gallery in London seems by general acknowledgement to have been done around 1545 (Fig. I). According to Vasari's recollection Bronzino had “made a picture of singular beauty” that was sent to the king of France, François I. As best as Vasari could recall, the particulars of its complicated iconographic program were all devoted to variations on an erotic theme inasmuch as the picture included figures of “a nude Venus with [her son] Cupid, who was [shown] kissing her, and alongside [them] there were [other representations of] ‘Pleasure - il Piacere’ and ‘Idle Sport - il Giuoco’ accompanied by other ‘Loves-Amori.’

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Jacks, Philip J. "The Composition of Giorgio Vasari'sRicordanze: Evidence from an Unknown Draft." Renaissance Quarterly 45, no. 4 (1992): 739–84. http://dx.doi.org/10.2307/2862635.

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The fame of Giorgio Vasari'sVite de’ eccellcnti pittori satltori ed architettori,both as a masterpiece of Italian literature and the model of modern biography, has perhaps slighted our awareness of the degree to which this author was also a publicist of his own artistic persona. Actually the documentation Vasari left of his professional and domestic affairs is probably more copious than the research he compiled for the lives of his fellow artists. Yet Vasari must have come to the idea of an autobiography relatively late in life. At the end of the second edition of theVitepublished in 1568, he devoted “alcune cose degli artefici della nostra Accademia di Firenze,” followed by a “descrizione” of his own career up to the present. Rather than an expression of self-effacement, here the distinction between description and biography seems to be a question of genre. Why Vasari found the scheme of thevitasuitable for some contemporaries and not for others is difficult to explain. As for his own life, the prospect of writing the definitive version at this stage no doubt would have seemed a bit premature.

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Molinié, Anne-Sophie. "Giorgio Vasari, Francisco Pacheco et le Jugement dernier." Mélanges de la Casa de Velázquez, no. 41-2 (November 1, 2011): 165–84. http://dx.doi.org/10.4000/mcv.4088.

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Dissertations / Theses on the topic "Vasari, Giorgio"

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Burioni, Matteo. "Die Renaissance der Architekten Profession und Souveränität des Baukünstlers in Giorgi Vasaris Viten." Berlin Gebr. Mann, 2005. http://d-nb.info/984439064/04.

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Gregory, Sharon Lynne. "Vasari, prints and printmaking." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342380.

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Reed, Richard. "Studies in the patronage of Giorgio Vasari (1511-74)." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313167.

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Oliveira, Rita de Cassia Batista de. "A vitória de Michelangelo no certame de Giorgio Vasari." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-09022010-112327/.

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Em As Vidas dos mais ilustres pintores, escultores e arquitetos, Giorgio Vasari afirma que Michelangelo supera e vence a todos os artífices antigos e modernos. Este trabalho investiga como Michelangelo alia a virtude de conhecer as regras das artes antigas e a de alçar-se para além delas, a partir do que escreve Vasari acerca do artífice e de sua pintura, escultura e arquitetura, unidas como artes do desenho. As preceptivas de que trata Vasari delimitam o campo para uma análise tanto da observância quanto das variações que Michelangelo insere nas regras de artes da Antiguidade. O antigo, colocado em um novo lugar, abre caminhos para os artífices de todas as gerações posteriores, pois Michelangelo afrouxa os laços que os fazia pintar, esculpir e arquitetar dentro dos estritos limites da tradição greco-romana.
In Lives of the Most Excellent Painters, Sculptors, and Architects, Giorgio Vasari claims that Michelangelo surpasses and triumphs at all the ancient and modern artificers. This research investigates the way Michelangelo associates the virtue of knowing the ancient art rules and the virtue of going beyond them, according to what Vasari writes about the artificer and his painting, sculpture and architecture, gathering as the arts of design. The preceptives which Vasari deals with delimit the field of the analysis of the observance and of the variations Michelangelo inserts in the art rules from Antiquity. The ancient, in a new place, opens ways to the artificers of all posterior generations, since Michelangelo looses the ties which made them to paint, to sculpt and to architect under the strict limits of the Greek-Roman tradition.

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Caliandro, Stéfania. "Le "Libro de' disegni" de Giorgio Vasari : un métatexte visuel /." Limoges : PULIM, Université de Limoges, 1999. http://catalogue.bnf.fr/ark:/12148/cb37620937m.

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Extr. révisé et remanié: Th.--Sciences du langage, Option Arts et littérature--Paris--École des hautes études en sciences sociales, 1999.
Bibliogr. p. 37-42. PULIM = Presses universitaires de Limoges.

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Andrade, Leticia Martins de. "A vida de Giulio Romano por Giorgio Vasari : tradução anotada." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280562.

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Orientador : Luiz Cesar Marques Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-03T23:02:51Z (GMT). No. of bitstreams: 1 Andrade_LeticiaMartinsde_D.pdf: 60377333 bytes, checksum: f17e0a4d4e22f65d1949118bd5049f22 (MD5) Previous issue date: 2004
Resumo: A "VIDA DE GIULIO ROMANO" POR GIORGIO VASARI -TRADUçÃO ANOTADA. Esta tese participa do projeto de tradução das Vite vasarianas dentro do 'Projeto Cicognara - A constituição da tradição clássica'. Trata-se da tradução para o português e do comentárioda "Vita di Giu/io Romano - pittore" 1492/99-1546) a partir da edição de 1568 (Giuntina) de Le Vite dei piu eccellenti pittori, seultori e architettori...: obra inédita em português e de capital importância para a história da arte em todos os tempos, considerada.a fimd~dQradessa disciplina e a que estabeleceu cânones críticos para a arte do Renascimento. O comentário ao texto desenvolve o estudo da Vita di Giu/io Romano em sua complexidade, procurando delimitar na escrita de Vasari os elementos fundamentais que acabaram por determinar a fortuna critica desse artista durante vários séculos e até nossos dias. Ao mesmotempo, é estabelecido um catálogo crítico ilustrado do corpus de suas obras, desenvolvidopari passu com o texto vasariano, com a dupla finalidade de fundamentar e clarificar a infonnação escrita
Abstract: "THE LIFE OF G1ULlOROMANO" BY GIORGIO VASARI - AN ANNOTATED TRANSLATlON This dissertation talces part in a greater project of translation of the vasarian Lifes that integrates the 'Cicognara Project - lhe Constitution of lhe Classical Tradition '. Our text consists of a translation to portuguese and a developed commentary on the "Vita di Giu/io Romano - pittore" (1492/99-1546) from the so-called «Giuntina" edition ofthe Le Vite dei piu eccellenti pittori, scultori... written by Giorgio Vasari in 1568. Vasari S lext, a book of capital importance, considered the founder of the History of Art and the one that settled the critical canons to the Renaissance Art, is unpub/ished in portuguese language until now. Our commentary to the vasarian lext develops lhe study of lhe Giulio Romano s biography trying 10 expose ils complexity and searching hefimdamental elements tha! determinated the artist 's criticalfortune from Vasari 's time until nowadays. At the same time we organize an illustrated critical catalogue of lhe Giulio Romano s worlc, developed pari passu with lhe vosorian lext, trying 10 attain the double goal of supporting and clarifying the written information
Doutorado
Historia da Arte
Doutor em História

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Fenech, Kroke Antonella. "Culture et fonction de l'allégorie dans l'oeuvre de Giorgio Vasari." Paris 1, 2008. http://www.theses.fr/2008PA010557.

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Giorgio Vasari est l'un des plus prolifiques créateurs et metteurs en scène de personnifications du XVIe siècle. Toute son oeuvre est marquée par la présence de ces figures: elles sont présentes au premier plan ou dissimulées à la périphérie de la représentation, elles se mêlent aux protagonistes et aux comparses de la storia ou aux éléments des architectures peintes. Ce qui caractérise la production allégorique de Vasari n'est pas tant l'originalité, dont l'artiste a pourtant fait preuve, que l'abondance et la pertinence de sa 'fabrique' de l'allégorie. Cette dernière condense, à elle seule, les composantes les plus significatives de la culture de cette période, l’''ecriture'' de Vasari étant à plusieurs égards un phénomène socioculturel des plus représentatifs. Le monde de ses figures allégoriques parle en fait le même langage que l'univers rhétorique, philosophique, érudit et courtisan à l'intérieur duquel évoluait l'artiste arétin. Par une étude spécifique des personnifications vasariennes, cette recherche se propose d'entreprendre une archéologie cinquecentesca de la figure allégorique avant la normalisation mise en œuvre à la fin du siècle par Cesare Ripa.

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Manucci, Carole. "I Ragionamenti de Giorgio Vasari ou l’édifice de la Mémoire." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3110.

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Giorgio Vasari naît le 30 juillet 1511 ; il s'éteint le 27 juin 1574. À la fin de l'année 1554, il entre au service de Cosme Ier de Médicis, duc de Florence, et se voit rapidement confier la responsabilité des travaux de transformation du Palais de la Seigneurie en Palais Ducal. L'artiste livre les clefs de lecture du cycle pictural déployé sur les plafonds et les murs du célèbre monument florentin, connu sous le nom de Palazzo Vecchio, dans une oeuvre peu étudiée : Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore et architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Rédigé entre 1558 et 1567, mais publié à titre posthume seulement en 1588, ce texte met en scène Giorgio Vasari et le prince François Ier de Médicis, fils aîné de Cosme Ier et d'Éléonore de Tolède. Sous une plume ekphrastique, au sein de laquelle le mot et l'image s'unissent, l'artiste compose un dialogue distribué sur trois journées et conduit dans trois lieux emblématiques du palais : le Quartier des Éléments, le Quartier de Léon X et la Salle des Cinquecento. L'intérêt de cet ouvrage réside dans les différents niveaux de lecture comme dans les différents "dialogues" qu'il suppose. Si la réécriture de certains épisodes mythologiques, mis en relation directe avec l'histoire de la dynastie médicéenne, participe du dessein officiel de l'oeuvre, à savoir la glorification ducale, le mythe prélude, en raison de son appartenance à un univers ésotérique, à une lecture dérobée du texte vasarien qui, au-delà de servir le règne médicéen, révèle une aura mémorielle nous invitant à appréhender I Ragionamenti de Giorgio Vasari comme un édifice de la Mémoire
Giorgio Vasari was born on 30 July 1511 ; he died on 27 June 1574. At the end of 1554, he starts to be on the service of Cosimo I de' Medici, the Duke of Florence and he quickly sees himself entrusted with the transformation works of the seigneurial palace into a ducal one. The artist delivers the reading guides of the pictorial cycle deployed on the ceilings and the walls of the famous Florentine monument known as Palazzo Vecchio, in Ragionamenti del Sig. Cavaliere Giorgio Vasari, pittore e architetto aretino, sopra le invenzioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime, a little-known and little-studied work. Written between 1558 and 1567, but only posthumous published in 1588, this text stages Giorgio Vasari and Prince Francesco I de' Medici, the elder son of Cosimo I and Eleonora di Toledo. Under a descriptive hand, in which the word and the image unite, the artist composes a dialogue spread over three days and lead in three emblematic places of the palace: the Elements Area, the Leo X Quarter and the Cinquecento Room. The interest of this work lies in the different reading levels as in the different "dialogues" that it means to suggest. If the rewriting of some mythological episodes, directly viewed in relation to the history of the Medici dysnasty, contributes to the official aim of the work - namely the ducal glorification - the myth preludes, owing to its belonging to an esoteric world, a hidden reading of the Vasarian text that, beyond serving the Medici reign, reveals a memory aura inviting us to comprehend Giorgio Vasari's Ragionamenti as an edifice of Memory

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Gaudin, Hélène. "Le remaniement de l'éloge dans la seconde édition des Vies de Giorgio Vasari." Paris 3, 2007. http://www.theses.fr/2007PA030159.

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Lorsque Vasari insère ses contemporains dans la seconde édition des Vies, de nouvelles conditions d’écriture se présentent à lui. Sa situation professionnelle a également changé : il travaille désormais officiellement au service de Cosme Ier de Médicis. Ce qui, en 1550, était un recueil de Vies d’hommes illustres devient aussi, en 1568, une histoire du présent. L’éloge se trouve transformé du fait de la nouvelle perspective de réception du texte. Loin d’être l’adulateur inconditionnel qu’on a souvent voulu voir en lui, Vasari choisit au contraire de se forger une image d’historien impartial afin de mieux condamner. Le genre de la biographie historique hérité de Paolo Giovio, remanié par Vasari et appliqué au domaine artistique, donne son originalité au texte des Vies, dans lesquelles l’auteur se donne les moyens rhétoriques de porter des jugements sévères sur la vie artistique de son temps
The context of Giorgio Vasari’s writing changed when he added references to his contemporaries in the second edition of the Vite. Professionally, his situation was not the same either – he was now officially working for Cosimo I de’ Medici. In 1568 what in 1550 had been a collection of the lives of illustrious men also became a history of the present. The use of praise and blame was affected by the new perspective in which the book was to be read. Far from being the unreserved admirer he has often been described as, Vasari chose to present himself as an impartial historian in order to be more effective in distributing blame. Historical biography, a genre inherited from Paolo Giovio, which Vasari reshaped and used in the context of art, gives the text of the Vite its distinctiveness, in which the author builds the rhetorical tools needed to make severe judgments, including on the artistic life of his day

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Grasman, Edward. "In de schaduw van Vasari : vijf opstellen over kunstgeschiedschrijving in 18de-eeuws Italië /." [S.l. : s.n], 1992. http://catalogue.bnf.fr/ark:/12148/cb35680925k.

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Books on the topic "Vasari, Giorgio"

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Baldini, Umberto. Giorgio Vasari: Pittore. Firenze: Edizioni d'arte Il fiorino, 1994.

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Pasini, Pier Giorgio. Giorgio Vasari a Scolca. Rimini: Ramberti arti grafiche, 1998.

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Le dimore di Giorgio Vasari. New York: Peter Lang, 2010.

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Satkowski, Leon George. Giorgio Vasari: Architect and courtier. Princeton, N.J: Princeton University Press, 1993.

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The homes of Giorgio Vasari. New York: P. Lang, 2005.

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Enrico, Mattioda, ed. Giorgio Vasari storico e critico. [Firenze]: L.S. Olschki, 2006.

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Cheney, Liana. The homes of Giorgio Vasari. Frankfurt am Main: P. Lang, 2006.

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Cheney, Liana. Le dimore di Giorgio Vasari. New York: Peter Lang, 2010.

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Giorgio Vasari: Art and history. New Haven: Yale University Press, 1995.

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Mollé, Roland Le. Giorgio Vasari: L'homme des Médicis. Paris: B. Grasset, 1995.

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Book chapters on the topic "Vasari, Giorgio"

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Carrara, Eliana. "Vasari, Giorgio." In Encyclopedia of Renaissance Philosophy, 1–13. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-02848-4_107-1.

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Schwarz, Hans-Peter. "Giorgio Vasari." In Das Künstlerhaus, 177–82. Wiesbaden: Vieweg+Teubner Verlag, 1990. http://dx.doi.org/10.1007/978-3-663-05290-6_36.

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Schwarz, Hans-Peter. "Giorgio Vasari." In Das Künstlerhaus, 194–96. Wiesbaden: Vieweg+Teubner Verlag, 1990. http://dx.doi.org/10.1007/978-3-663-05290-6_42.

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Müller-Hofstede, Ulrike. "Vasari, Giorgio." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21413-1.

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Loconte, Aislinn. "The North looks South: Giorgio Vasari and early Modern Visual Culture in the Kingdom of Naples." In Art and Architecture in Naples, 1266-1713, 16–37. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324389.ch2.

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Faas, Egbert, and Ulrike Müller-Hofstede. "Vasari, Giorgio: Le vite de' più eccellenti architetti, pittori et scultori italiani da Cimabue insino a' tempi nostri." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21414-1.

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Hope, Charles. "Giorgione in Vasari’s Vite." In Museums at the Crossroads, 15–37. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.mac-eb.3.1826.

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Hagelstein, Maud. "VASARI, Giorgio." In Les théoriciens de l'art, 668–70. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0668.

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Blum, Gerd. "Titelei/Inhaltsverzeichnis." In Giorgio Vasari, 1–6. Verlag C.H.BECK oHG, 2011. http://dx.doi.org/10.17104/9783406614569-1.

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Blum, Gerd. "V. Die Krise von 1537 und die Kunst der Klöster." In Giorgio Vasari, 100–105. Verlag C.H.BECK oHG, 2011. http://dx.doi.org/10.17104/9783406614569-100.

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