Dissertations / Theses on the topic 'Vasari, Giorgio'

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.

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.

Orientador : Luiz Cesar Marques Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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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

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.

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

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

When Giorgio Vasari wrote the 'Vite de'piu eccellenti pittori, scultori ed architettori', the intended audience of his text not only included the artists of his own time, but also involved his Medici patrons. Indeed, the book was dedicated to Cosimo I de'Medici. The 'Vite' were thus intended as a guide for artists and as a means of paying homage to Vasari's patron. The quest for artistic perfection, through knowledge, was united with courtly principles and iconography, resulting in the raising of the status of the arts above the level of the mechanical. This was most resolutely achieved through the analysis of medicine, and in particular, the theory of the four humours, which not only governed medical practice, but also were of astrological and philosophical significance. While Vasari's vocabulary drew upon the symbolism of the Medici, who were born under the planet of Saturn, which also governed the melancholy humour, his discussion of the diseases suffered by artists was based upon the sciences of Hippocrates, Aristotle, Galen and Avicenna and were mainly caused by melancholy. Vasari's text also provided the melancholic with his cure, most notably at the Company of the Cazzuola. Here, the artists and their Medici patrons could find repose and amusement. Entertainments were based upon those of the court and included theatrical performances and banqueting. However, medical knowledge was also of practical significance to the painter and the sculptor. It provided a guide to the internal workings of man and thus, the external appearance of disease in the human body. The alteration in human appearance, as a symptom of disease was fully noted by Vasari in his physiognomic descriptions of the artists' appearances caused by temperament, character and disease and finally, found inclusion in the teachings of the Accademia del Disegno of which Giorgio Vasari had been a founding member.

Précieuse source d’informations sur l’auteur des Vies des meilleurs peintres, sculpteurs et architectes, la correspondance de Giorgio Vasari (1511-1574) est bien connue des historiens de l’art depuis son édition par Karl Frey (1923-1930). La conservation rigoureuse de ses nombreuses lettres ainsi que la remarquable qualité stylistique d’une grande partie d’entre elles, invitent à s’interroger sur la valeur que Vasari lui-même pouvait attribuer à son écriture épistolaire. Voyait-il ses lettres comme une partie fondamentale de son legs culturel ? On peut se demander s’il avait pu caresser le projet de les publier sous forme de recueil, conformément à une pratique très diffusée chez les hommes doctes du XVIe siècle. C’est justement un recueil qui se distingue tout particulièrement au sein du riche carteggio vasarien : le manuscrit Riccardiano 2354, de la Bibliothèque Riccardiana de Florence. Datant de la fin du XVIe siècle, ce petit codex contient quarante-huit missives copiées par le neveu et principal hériter de l’artiste arétin, Giorgio Vasari le Jeune (1562-1625), fonctionnaire médicéen versé dans différents savoirs techniques et scientifiques. Cette étude analyse les opérations de sélection, de transcription et de possible transformation menées par Vasari le Jeune à partir des sources épistolaires originales de son oncle, aujourd’hui introuvables. Des indices matériels et textuels laissent penser que le volume de la Riccardiana pourrait avoir été conçu comme un « livre de lettres » destiné à la publication, mais finalement jamais paru. Une initiative éditoriale avortée donc, visant la célébration posthume de la vie et de l’œuvre de Vasari à travers la valorisation de son héritage épistolaire. La lecture croisée des textes du recueil et d’autres missives qui y furent exclues, permet de reconnaître, en amont de l’entreprise de Giorgio le Jeune, un dessein de reconstitution biographique qui privilégie certains aspects de la figure de Vasari, en omet d’autres et, parfois, plie l’héritage culturel de l’artiste aux exigences d’affirmation personnelle du neveu dans le contexte médicéen de son temps. La résultante principale de cette recherche est une réflexion sur les dynamiques propres à l’écriture épistolaire de Vasari, sur les fonctions diverses qu’elle pouvait endosser dans les différentes phases de sa carrière d’artiste et d’écrivain. Car la pratique épistolaire fut pour Vasari un outil privilégié pour la mise en représentation de soi vis-à-vis de son réseau de correspondants, pour l’apprentissage de la parole littéraire et pour l’élaboration des procédés de l’ekphrasis, plus largement développés dans les Vies
A valuable source of information on the author of The Lives of the Artists, the correspondence of Giorgio Vasari (1511-1574) is well known to art historians, mainly since its almost complete edition published by Karl Frey (1923-1930). If we consider the fact that Vasari zealously kept his numerous letters during his whole life, as well as the remarkable stylistic quality of many of these texts, we realise the importance of inquiring into how significant his epistolary writing could have been to him. Did Vasari see his missives as an essential part of his cultural legacy? In this case, it has to be questioned whether the artist could have ever conceived the project of publishing a selection of his letters, in accordance with a widespread practice among literates in the Fifteenth century. A collection of Vasari’s letters was actually gathered and still stands out from the large number of documents of his vast carteggio: it’s the manuscript Riccardiano 2354, held by the Biblioteca Riccardiana in Florence. Dating from the late Fifteenth century, this small codex contains forty-eight letters posthumously copied by the artist’s nephew and principal heir of his estate, Giorgio Vasari the Younger (1562-1625), an official of the Medicean Court deeply versed in several scientific and technical disciplines. This study investigates the process of selection, transcription and possible manipulation conducted by Vasari the Younger on his uncle’s original epistolary sources, which are nowadays still missing. Several material or textual hints can suggest that the Riccardiana’s volume might have been a “libro di lettere”, a book of letters designed for publication, but finally never printed. The chief aim of this editorial effort would have been a posthumous celebration of Vasari’s life and artistic achievements, through the highlighting of his missives. The comparison between the texts included in the Riccardiana’s manuscript and other excluded letters, allows us to recognise, as the essential mainstay in Giorgio the Younger’s work, the design of a biographical depiction of Vasari’s figure, focusing on specific traits and omitting others. The artist’s epistolary legacy seems to be occasionally subject to his nephew’s personal career requirements in the Medicean context of his time. The result of this research is a series of considerations on the dynamics inherent in Vasari’s epistolary writing, such as the various functions that it could assume according to the different phases of the artist’s career. Epistolarity has been Vasari’s main tool for self-fashioning towards his correspondents; as well as for literary learning and for the conception of the device of ekphrasis, developed on a larger scale in the Lives

Orientador: Luiz Cesar Marques Filho
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A primeira edição de "As Vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue aos nossos dias", escrita por Giorgio Vasari (1511-1574), arquiteto e pintor de Arezzo, é publicada em 1550. Ela é marcada pelas questões que animavam a Academia Florentina (1541) - a questão da historia, da língua vernácula e da sua difusão - e pela "disputa entre as artes", conforme proposta por Benedetto Varchi (1503-1565) nas célebres "Duas Lições". A segunda edição das "Vidas", publicada em 1568, será marcada por outra academia e por nova versão da "disputa"; i.é, pela Academia delle Arti del Disegno e o texto "Una Selva di Notizie", escrito por Dom Vincenzo Borghini(1515-1580), lugar-tenente da nova academia, rediscutindo a hierarquia entre as artes. Para a nova Academia, fundada em 1563, e para o texto "Una Selva di Notizie" (1564), a referência e modelo eram aqueles, institucional e intelectual, da década de "40. Tanto a academia dos artistas, fundada pelo próprio Vasari junto com o filólogo Borghini, seria inspirada na Academia Florentina, conforme declarado por eles, quanto a retomada da "disputa entre as artes" pelo lugar-tenente da Academia do Desenho, fazia referência à Lição de Varchi e às cartas escritas pelos artistas em resposta ao debate de quase vinte anos antes. Tais aspectos institucionais, e as distintas características do debate intelectual, influenciam respectivamente cada uma das edições com idéias que procuramos ressaltar e analisar no âmbito da política cultural do duque Cosimo I
Abstract: The first edition os the "Lives of the most excellent architetcts, painters and sculptors from Cimabue to ourdays" written by Giorgio Vasari (1511-1574), architect and painter of Arezzo, is published in 1550. It is marked by questions that directed the Florentine Academy (1541) - the question of history, of the vernacular ando its dissemination - and by the "dispute between the arts", as proposed by Benedetto Varchi (1503- 1565) in the famous "Due Lezzioni" (Two Lessons). The second edition of the "Lives", published in 1568, is marked by another Academy and by new version of the "dispute"; i.e. by the Academia delle Arti del Disegno and the text "Una Selva di Notizie", written by Don Vincenzo Borghini(1515-1580), lieutenant of the new Academy, rejudging the hierarchy between the arts. For the new Academy, founded in 1563, and the text "Una Selva di Notizie" (1564), the reference and model were those, institutional and intellectual, of the "40s. Both the academy of the artists, founded by Vasari himself along with the philologist Borghini, would be inspired by the Florentine Academy, as stated by them, as the resumption of the "dispute between the arts" by the Lieutenant of the Academy of drawing, made reference to the Lesson of Varchi and letters written by the artists in response to the debate of almost twenty years before. Such institutional aspects, and the distinct characteristics of the intellectual debate, influence respectively each of editions with ideas that emphasize and analyze the cultural policy of the Duke Cosimo
Doutorado
Historia da Arte
Doutor em História

Thesis (Ed.D)--Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Justin Schorr. Includes bibliographical references (leaves 199-206).

Les "Vite de' più eccellenti architetti, pittori, et scultori italiani. . . ", publiées à Florence en 1550 par Giorgio Vasari, sont considérées comme la première véritable histoire de l'art, et Vasari comme le père de l'historiographie de l'art. Au XVIIe siècle, à Rome, deux artistes – Giovanni Baglione et Giovanni Battista Passeri – et un homme de lettres – Giovanni Pietro Bellori – rédigent à leur tour des recueils de Vies d'artistes. Ces ouvrages ont couramment été étudiés dans le cadre de la littérature artistique et de l'histoire de l'art. Ils ont été considérés comme des documents informatifs et non comme des oeuvres littéraires. Notre travail repose sur une approche différente, de type narratologique : nous envisageons ces écrits d'un point de vue essentiellement littéraire. D'autre part, nous confrontons également la conception de l'histoire de l'art des auteurs avec le modèle des Vite, afin de poser la question de l'héritage vasarien
"Vite de' più eccellenti architetti, pittori, et scultori italiani. . . ", published in Florence by Giorgio Vasari in 1550, is regarded as the first history of arts, and Vasari as the father of art historiography. In the 17th century, in Rome, two artists - Giovanni Blaglione and Giovanni Battista Passeri - and a writer - Giovanni Pietro Bellori - also wrote a collection focused on the lives of artists. These anthologies have been widely studied within the context of artistic literature and art history. They are regarded as informative documents and not as works of art. Our work is based on a different approach, a narrative one. We mainly take these works into consideration in a literary point of view. On the other hand, we will also compare the authors' conception of art history with the model of "Vite", in order to wonder if there is such a thing as a Vasarian heritage

Properzia De’Rossi (1490-1530) première sculptrice de la Renaissance italienne naquit vers 1490 à Bologne et mourut en 1530. Elle suscita un grand intérêt non seulement pour ses qualités d’artiste mais aussi pour avoir transgressé les rôles traditionnels de la femme. Nous la connaissons grâce à Giorgio Vasari qui dans la première édition des Vite de 1550, lui consacre une biographie, seule femme à figurer parmi les cent trente-trois biographies d’artistes rassemblées par l’historiographe. Dans la seconde édition de 1568 Vasari accompagnera Properzia De’Rossi de trois autres femmes artistes peintres encore en vie et productives en 1568 : Plautilla Nelli, religieuse, Lucrezia Quistelli et Sofonisba Anguissola aristocrates. Properzia De’Rossi est « hors norme » : ni religieuse ni aristocrate ; elle exerce la sculpture en professionnelle. L’unique œuvre connue avec certitude est son célèbre bas-relief de Joseph et la femme de Putiphar. Œuvre autobiographique d’après Vasari qui suggère le scandale d’une femme mariée ayant un jeune amant. Sa mort précoce en 1530, alors qu’elle est demandée par le pape Clément VII venu à Bologne pour le couronnement de Charles Quint, dramatise sa mort au sommet de sa gloire. Elle travailla sur le chantier prestigieux de San Petronio avec des sculpteurs renommés. Le XIXe siècle l’a perçue comme une héroïne romantique, elle perdit peu à peu son identité de sculptrice. Le XXe siècle la considère comme pionnière dans un monde professionnel masculin. Notre approche, à la croisée des chemins historiques, artistiques et littéraires tente de donner une vision complète de cette artiste talentueuse, dotée d’une forte personnalité, célèbre pour avoir su braver les interdits et exercer son métier de sculptrice
Properzia De’Rossi (1490-1530) first great sculptress of the italian Renaissance, was born in Bologna around 1490 and died in 1530. She arouses a great interest not only for her artistic qualities but also for having infringed the traditional roles of the woman. She owes her fame to Giorgio Vasari, who in the first edition of Le Vite, 1550, devoted a single biography to her, the only woman to appear among the one hundred thirty three biographies of artists gathered by the historiographer. In the second edition of 1568, Vasari will add three other women painters alive and professionally active in 1568 : the nun Plautilla Nelli, the aristocrats Lucrezia Quistelli and Sofonisba Anguissola. Properzia De’Rossi is outstanding : neither nun nor aristocrat, she practices the sculpture as a professional sculptor. The only single work known with certainty is her famous bas-relief Joseph and Potiphar’s wife. An autobiographical work according to Vasari, who suggests the scandal of a married woman having a young lover. Her premature death in 1530, as she was called by pope Clement VII in Bologna for Charles V’s coronation, dramatizes her death at the height of her glory. Famous in Bologna, she worked with renowned sculptors in San Petronio. The nineteenth century perceived her like a romantic heroin : in love and unhappy. She lost little by little her identity of sculptress. The twenteenth century might see her as pioneer of female work in a male professional environment. Our study at the crossroads of historical, artistic and literary approaches attempts to give a comprehensive vision of this talented artist with a strong personality, famous for having broken the taboos in order to work as a sculptress

Orientador : Luiz Cesar Marques Filho
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Mestrado

Giorgio Vasari nasceu em 1511, na cidade de Arezzo, Itália. Em 1574, quando morreu, deixou atrás de si uma enorme quantidade de pinturas por toda a Toscana, uma série de empreendimentos arquitetônicos em Florença que realizou para o duque, bem como a obra pela qual talvez seja mais conhecido: o livro das Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (As vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue até os nossos tempos descritas em língua toscana por Giorgio Vasari pintor aretino com uma introdução útil e indispensável para as diferentes artes). Tão impressionante quanto o sucesso de sua carreira, são a quantidade e a variedade de registros sobre si mesmo que Giorgio Vasari foi capaz de produzir. Hábil também como escritor, registrou uma autobiografia como pintor e arquiteto, que julgou pertinente inserir na segunda edição de seu livro, além de um diálogo em que explica a decoração do Palazzo Vecchio. Também guardou cuidadosamente o registro de boa parte de suas encomendas, e deixou uma série de papéis esparsos que seus descendentes reuniriam com orgulho no chamado Zibaldone, em que estariam preservadas as invenzione do cavaliere Giorgio Vasari. Conhecedor e amante das artes, como se apresenta não apenas em sua autobiografia, mas ao longo de todas as Vite, detinha os meios técnicos necessários para realizar os ciclos decorativos internos das duas casas que adquiriu com o sucesso de sua carreira. Uma em Arezzo, sua cidade natal, a outra em Florença, local de sua realização profissional. Nesses ciclos expressou, ainda que de forma menos evidente do que os padrões contemporâneos exigem, e sempre limitado pelas convenções de sua época, o entendimento que tinha de si mesmo e de sua trajetória. Nesse trabalho, dedico-me a analisar essa documentação deixada por Vasari, procurando os traços de sua descrição de si mesmo, e tentando entender seus limites, suas possibilidades, suas inovações e suas motivações. Procuro compreender esse material a partir de um horizonte de expectativas individual do próprio Vasari, relacionando-o ao contexto de possibilidades que se abriam ao artistas durante esse período do qual ele não apenas fez parte, mas também ajudou a construir conceitualmente para a disciplina histórica: o Renascimento. No primeiro capítulo tento entender os limites dentro dos quais operava sua autorrepresentação escrita recorrendo a fontes mais antigas. A análise dessa figuração retórica através do texto aparece no segundo capítulo, em que realizo o comentário mais extenso de seus escritos. Essa tarefa bipartida é condensada no terceiro capítulo, em que procuro delimitar sua representação pictórica através de exemplos anteriores e contemporâneos, antes de realizar a análise do material vasariano propriamente dito.
Giorgio Vasari was born in 1511 in the town of Arezzo, Italy. In 1574, when he died, he left behind a huge amount of paintings throughout Tuscany, a series of architectural projects in Florence wich he performed for the Duke, and the work for which is perhaps best known: the book of the Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (The lives of the most excellent italian architects, painters and sculptors from Cimabue to our times described in the Tuscan language by Giorgio Vasari aretine painter with a useful and indispensable introduction to the different arts). As impressive as the success of his career, is the quantity and the variety of records about himself that Giorgio Vasari was able to produce. Also skilled as a writer, he recorded an autobiography as a painter and architect, wich he judged appropriate to insert in the second edition of his book, as well as a dialogue in which explains the decoration of the Palazzo Vecchio. He also kept carefully the record of most of his works, and left a number of scattered papers that his descendants proudly gathered in the so-called Zibaldone, in wich would be preserved the invenzione of Cavaliere Giorgio Vasari. Connoisseur and lover of the arts, as he presents himself not only in his autobiography, but all over the Vite, he held the technical means to carry out the internal decorative cycles of the two houses he acquired with the success of his career. One in Arezzo, his hometown, the other in Florence, site of his professional achievement. These cycles expressed, albeit in a less obvious way than contemporary standards require, and always limited by the conventions of his time, his understanding of himself and his career. In this work, I dedicate myself to examine this documentation left by Vasari, looking for traces of his description of himself, and trying to understand its limits, possibilities, innovations and motivations. I try to understand this material from a perspective of Vasari‟s individual expectations, but also relating it to the context of possibilities that opened to artists during this period in which not only he took part, but also helped to form conceptually for the historical discipline: the Renaissance. In the first chapter I try to understand the limits within which Vasari operated his written self-representation using older sources. The analysis of this rhetoric figuration through the text appears in the second chapter, in which I render the more extensive review of his writings. This bipartisan task is condensed in the third chapter, in which I try to delineate his pictorial representation through previous and contemporary examples before performing the analysis of Vasari material itself.

L'étude examine la façon dont les informations que Pline l'Ancien livre sur la peinture antique dans son Histoire naturelle ont été perçues et exploitées dans l'Italie de la Renaissance, depuis Pétrarque (v. 1350) jusqu'à la seconde édition des "Vies" de Vasari (1568). Elle montre que les échos de Pline observables dans les textes et les œuvres constituent des clés pour comprendre les enjeux artistiques, théoriques et sociaux inhérents aux pratiques picturales de l'époque. Pour mener à bien cette enquête, plusieurs types de sources et d'éclairages ont été mis à contribution. Sont d'abord examinées les données propres à la transmission éditoriale de "l'Histoire naturelle". Le recours à Pline est ensuite abordé dans la littérature artistique et dans la pratique picturale. Enfin, l'émulation d'Apelle est considérée dans la pratique artistique à travers l'étude de la signature formulée à l'imparfait. Il s'agit en effet d'une façon de signer que Pline attribue au peintre grec et que les artistes de la Renaissance vont adopter à partir de la fin du XVe siècle. Outre de larges développements consacrés à Pétrarque, Alberti, Ghiberti, Castiglione, Pino, Dolce et Vasari, l'étude aborde également les échos pliniens présents chez de nombreux artistes et humanistes. Ainsi, l'enquête souligne la diversification des formes et des fonctions de l'emprunt à Pline, tout comme ses principaux accents, à savoir la valorisation culturelle et sociale de la peinture et la réflexion sur les genres et les styles picturaux (portrait, paysage, nu féminin, querelle du "disegno" et du "colorito" , "paragone" des arts).

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.

À partir d’une lecture d’écrits publiés et inédits de Vincenzo Borghini (1515-1580), cette thèse s’interroge sur le rôle que ce moine bénédictin florentin joua dans la politique culturelle des Médicis, et plus particulièrement sur la manière dont il concilia érudition et conscience politique, passion pour l'art et respect des nouvelles prescriptions de l’Église, élitisme culturel et diffusion des savoirs. La pratique historiographique avait un rôle d’importance alors que le duc Côme Ier ambitionnait de consolider le rôle politique de la Toscane en Italie et parmi les grandes puissances européennes par l’obtention du titre de grand-duc. Après avoir espéré que l’Empereur lui en accorderait la couronne, il se tourna vers la papauté. Pris entre de tels enjeux, Borghini, conseiller du prince aux fonctions multiples, oeuvra de manière aussi efficace que complexe. Sa pratique de l’histoire, familiarisée avec la tradition, mais fondée sur des méthodes d’approches nouvelles, évolua en adéquation avec ce qu’il nommait les «circustanze de’ tempi di parte». Les jeunes années de Borghini permettent de comprendre le rôle de premier plan qu’il tint auprès de la cour ducale. Ses études sur l’histoire s’enracinent dans ses années de formation et sa rencontre avec des personnalités comme Vettori et Vasari. Il donnera à ce dernier des conseils fondamentaux pour la conception des Vite. Les années 1560 sont celles d’une nouvelle pratique : Borghini fut l’un des principaux responsables des traités descriptifs des grands apparats dont il avait au préalable été le concepteur en tant qu’auteur des programmes iconographiques. Pour leur rôle dans la construction d’une mémoire collective de la Toscane, ces textes peuvent être considérés comme une forme de micro-histoire. Les années 1570 sont celles du passage de la micro-histoire des descriptions d’apparats à la rédaction et à la correction de traités d’histoire universelle. L’enjeu politique n’est alors plus l’obtention du titre de grand-duc mais sa légitimation. Les recherches historiques de Borghini permettent de synthétiser toutes ses activités au service des Médicis : il n’eut de cesse de se servir de l’Histoire du passé pour célébrer la Toscane du présent, qui, au-delà des Médicis, était son ultime objectif
Stemming from published and unbublished writings of Vincenzo Borghini (1515-1580), this Dissertation questions the role Florentine Benedictine friar Vincenzo Borghini (1515-1580) played in the cultural policies of the Medici, particularly the way he reconciled erudition and political consciousness, his passion for art and his respect for the new Church prescriptions. The use of History was important at a time when Cosimo was trying to strengthen the political clout of Tuscany, in Italy and among great European powers, by obtaining the grand-duke crown. Having hoped, in vain, that the Emperor would grant him this title, he turned to the papacy. In the face of such stakes, the role of Borghini, a man with multiple hats, was a complex one. The way he made use of history evolved in conjunction with what he called the «circustanze de’ tempi di parte». Borghini's young years help us understand the essential position he occupied within the ducal court. His approach to history finds its roots in his formative years and his acquaintance with prominent people like Vettori and Vasari. He provided the latter with fundamental advice for the theoretical conception of the Vite. The 60s were testament to a new approach: Borghini was, with a few others, in charge of writing up the treaty describing the great pageants he himself had originally devised. Given their role in the elaboration of an oriented memory, those texts can be considered to be a kind of kind of micro-history. The 70s showed the transition from the micro-history of descriptions of the pageants to writing and correcting treaty dealing with universal history. Obtaining the the title of Grand duke is not any more politically at stake; what matters now is making sure it is legitimized. Borghini's historical research synthesizes all the activities he carried out while serving the Medici family. He endeavored to use past history to celebrate Tuscany's present, which, above and beyond the Medici, was his ultimate aim

Vincenzo Danti (1530-1576), Perugian by birth and training, relocated to Florence in 1557 to work for the Medici court. While there, Danti completed visual and textual works oriented to the interests of Duke Cosimo I de’ Medici (1519-1574) and his son, Prince Francesco (1541-1587). Danti also participated in the literary and arts academies that were associated with the ducal program of establishing Florentine cultural supremacy. Danti’s multi-disciplinary activities during his tenure at the Medici court demonstrate his hopes to secure long-term patronage and to become the primary sculptor to the Medici dukes. This project represents both a reappraisal of Vincenzo Danti’s career and an examination of the ways that artists at the Medici court positioned themselves in relationship to their patrons and to one another.
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Study of self-presentation of artist in the Italian painting of the 16th century - abstract Italian art of the 16th century, known as the Cinquecento, is undoubtedly a captivating chapter of art history. No less interesting are the lives of artists from that time, the understanding of self-value and its presentation, creating the artist's identity, i.e. their "artistic self". Within a century we may observe the transformation from a craftsman to an artist, and subsequently artist- the courtier. The main representatives of this "movement", trying to raise the status of arts and artists in the society, were Giorgio Vasari and Federico Zuccari. Each represented a different generation of artists; however, figures of both these painters are complemented in a curious way. There are moments when their lives meet and, in a certain way, follow one another. It is one of the reasons, why the connection Vasari-Zuccari is suitable for understanding social situation or the self-presentation of central Italian artists in the 16th century. It is almost as if this duo was representing a fictitious art figure of the Cinquecento, whose life began 1511 (with the birth of Giorgio Vasari) and ended in 1609 (with the death of Federico Zuccari) and by studying this figure we discover the development of artists' self-concept and...

In Italy the first half of the Cinquecento was marked by both flourishing artistic innovation and deep-seated religious uncertainty, the latter revealing itself most clearly in a widespread impetus towards reform. The relationship between these two cultural spheres--long a fraught problem in art historical scholarship--is made visually manifest in the religious works produced by the Florentine painter Jacopo da Pontormo. By re-examining Pontormo's three monumental religious commissions--the Certosa del Galluzzo (1522-27), the Capponi Chapel (1525-28), and the choir of San Lorenzo (1545-1557)--this dissertation maps the complex dialogue between artistic and devotional practice that characterized this era. Further, in highlighting the active role of the painter in this dynamic I propose a not only a new understanding of Pontormo, but also enrich our current notions of artistic agency in the Renaissance period. The foundation of these arguments derives from a re-evaluation of the specific historical context on the one hand, and the implementation of a broader framework of visual culture on the other. Taking its cue from Giorgio Vasari's 1568 edition of The Lives of the Artists, modern scholarship has tended to view much of the art from the early sixteenth century through a post-Tridentine lens; paintings are labeled controversial or heretical, when in fact such notions would not have been relevant in these earlier decades. Published five years after the conclusion of the Council of Trent, Vasari's Lives is predominantly characterized by the author's own attempts to codify artistic pedagogy and style in the service of the Medici Duchy, whose newly consolidated ties with the papacy were of primary importance. A further difficulty presented by following Vasari's example is the relatively narrow view of the artistic environment that his account affords. Aimed as it was towards the social elevation of the individual Renaissance artist, Vasari's narrative undervalues the importance of other genres and media--such as prints, Mystery plays, terracotta sculptures, and sacri monti--to the work of well-established painters like Pontormo. Each chapter examines a single, monumental project, delineating the artist's responsiveness to, and engagement with, the unique devotional and artistic challenges inherent to the individual commission. Chapter One resituates Pontormo's use of the maniera tedesca within the broader contexts of northern devotional practices and the parallels they form with affective strategies employed by other genres including sacre rappresentazioni and sacri monti. Chapter Two focuses on the painter's decision to portray himself the guise of Nicodemus, and the ways in which this identification evoked an entire web of historical associations--linked to hagiographic tradition and local legend--that would have been accessible to contemporary viewers. Finally, in Chapter Three I investigate Pontormo's pictorial approach, which combined an overarching diagrammatic simplicity with a complex, allusive figural language, as a means of communicating to the different levels of Florentine society that would have been his audience in this important parish church.