Journal articles: 'Vasari, Giorgio'

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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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Grassi, N., P. Bonanni, C. Mazzotta, A. Migliori, and P. A. Mandò. "PIXE analysis of a painting by Giorgio Vasari." X-Ray Spectrometry 38, no. 4 (July 2009): 301–7. http://dx.doi.org/10.1002/xrs.1181.

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Norman E., Land. "Vasari’s Buffalmacco and the Transubstantiation of Paint." Renaissance Quarterly 58, no. 3 (2005): 881–95. http://dx.doi.org/10.1353/ren.2008.0848.

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AbstractBeginning with several tales in Giovanni Boccaccio’sDecameron, the early fourteenth-century Florentine painter Buonamico Buffalmacco was often portrayed as a carefree, funloving trickster. As this paper demonstrates, that image has obscured the deeper significance that Buffalmacco and his works held for Giorgio Vasari in the second edition ofThe Lives of the Artists(1568). That significance is especially apparent in his account of the eccentric painter and his dealings with the nuns of Faenza. In two humorous anecdotes about the nuns and Buffalmacco, Vasari poetically reveals the aesthetic and theological significance of the painter’s art. In spite of Buffalmacco’s less-than-diligent character, Vasari praises his ability to “transubstantiate” paint, an ability that placed him among theprimi lumi.

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Nascimento, Charliston. "GIORGIO VASARI: (N)O ALVORECER DA ERA DA ARTE." Revista Ideação 1, no. 43 (June 6, 2021): 163. http://dx.doi.org/10.13102/ideac.v1i43.7233.

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“Le Vite” (As Vidas), de Giorgio Vasari, é reconhecidamente um dos textos mais relevantes da história da arte. Sob a perspectiva de biografar os mais renomados pintores, escultores e arquitetos de sua época, o texto vasariano se tornou célebre tanto como uma primeira história da arte, como o registro basilar para o estudo da arte italiana renascentista e, por fim, também para a compreensão do desenvolvimento e entendimento da arte em um de seus períodos históricos mais proeminentes, qual seja, a arte italiana de Cimabue a Michelangelo Buonarroti. Esses fatos podem nos conduzir a uma interpretação equivocada: a de que o texto de Vasari seja uma obra delimitada ao mero estudo histórico e artefatual, de modo que expandir a compreensão dos fenômenos que aquela obra abarca para os problemas filosóficos da arte de nosso tempo ou da arte em geral constituiria uma tarefa fadada ao anacronismo. No presente artigo, demonstraremos como “Le Vite”, pelo contrário, alicerça o conceito de era da arte para uma das principais filosofias da arte contemporânea, qual seja, o essencialismo histórico de Arthur Danto, e em seguida defenderemos em que medida naquela obra do Cinquecento já se fazem presentes e em germinação alguns dos principais aspectos da nossa compreensão atual do termo arte.

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Rosenfeld, Myra Nan. "Review: Giorgio Vasari: Architect and Courtier by Leon Satkowski, Ralph Lieberman; Vasari Architetto by Claudia Conforti." Journal of the Society of Architectural Historians 56, no. 2 (June 1, 1997): 223–25. http://dx.doi.org/10.2307/991293.

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Ventura, Rejane Maria Bernal. "Lodovico Dolce e uma crítica às Vite de Giorgio Vasari." História da Historiografia: International Journal of Theory and History of Historiography 5, no. 9 (June 23, 2012): 72–87. http://dx.doi.org/10.15848/hh.v0i9.379.

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Este artigo contempla alguns aspectos que ligam o Dialogo della pittura intitolato l´Aretino (1557), do Homem de Letras veneziano Lodovico Dolce, à obra do historiador Florentino, Giorgio Vasari, Le vitede´più eccellenti architetti, pittori et scultori italiani, da Cimabue, insino a´tempi nostri (1550). Procura-se demonstrar ao longo do texto que Dolce apoiou-se em conceitos teóricos expostos nas Vite, revertendo-os em seus próprios argumentos com o propósito de exaltar a pintura veneziana enquanto patrimônio cultural do Cinquecento, equiparando-a à arte da Tosco-romana, bem como buscou salientar a relevância da pintura de Ticiano, ausente da primeira edição da obra.

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Satkowski, Leon. "Review: Disegni di architetti fiorentini 1540-1640 by Andrew Morrogh; Giorgio Vasari. Tra decorazione ambientale e storiografia artistica by Gian Carlo Garfagnini, Giorgio Vasari." Journal of the Society of Architectural Historians 45, no. 4 (December 1, 1986): 416–18. http://dx.doi.org/10.2307/990216.

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Klein, Kelvin Falcão. "Vidas célebres, vidas minúsculas: Vasari, Foucault, Michon." Aletria: Revista de Estudos de Literatura 24, no. 3 (December 31, 2014): 39–52. http://dx.doi.org/10.17851/2317-2096.24.3.39-52.

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O primeiro movimento deste ensaio consiste no esboço de um percurso breve a partir da obra de Michel Foucault, rastreando o uso do significante “vidas” em alguns textos do autor francês. Dois eixos são delineados a partir daí: o primeiro deles diz respeito à leitura foucaultiana das “vidas célebres” de Giorgio Vasari; o segundo diz respeito às “vidas infames”, que Foucault rastreia nos arquivos policiais franceses. Em seguida, inicia-se um desvio em direção à literatura do século XX, considerando o envolvimento da ficção com a emergência da discursividade biográfica, sua ressonância política e o emprego crítico, mais uma vez, do significante “vidas”. Com esse contexto de fundo estabelecido, o ensaio conclui-se com uma análise de Vidas minúsculas, do escritor francês Pierre Michon.

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Manucci, Carole. "I Ragionamenti de Giorgio Vasari, clef de lecture du mythe médicéen." Cahiers d'études romanes, no. 29 (December 1, 2014): 19–33. http://dx.doi.org/10.4000/etudesromanes.4551.

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Oliveira, Márcia Ramos de, and Ricardo Santhiago. "Apresentação." Resgate: Revista Interdisciplinar de Cultura 22, no. 1 (October 27, 2014): 3. http://dx.doi.org/10.20396/resgate.v22i27.8645762.

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Não é novidade alguma que a entrevista – técnica ou método central para a prática da história oral – seja um dos recursos mais frequentes na abordagem das artes. Jornalistas, historiadores, memorialistas e tantos outros interessados em aprender mais sobre artistas, momentos e movimentos musicais têm, tradicionalmente, incluído a palavra falada entre suas fontes preferenciais. Isso tanto quanto Giorgio Vasari fez em 1550 ao criar seu livro Vidas dos artistas – hoje um clássico, lido, reeditado e cultuado

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Tuchkov, Ivan. "Giorgio Vasari and the Architecture of Cinquecento: The End of the Renaissance." Actual Problems of Theory and History of Art 6 (2016): 395–406. http://dx.doi.org/10.18688/aa166-5-41.

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Bianchini, Michelle. "L’archétype du « costumato e virtuoso artefice » dans les Vies de Giorgio Vasari." Italies, no. 11 (October 1, 2007): 261–90. http://dx.doi.org/10.4000/italies.802.

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Martino, E. "La Presa del Forte Presso la Porta Camollia di Siena Giorgio Vasari." Journal of Endocrinological Investigation 30, no. 11 (December 2007): 977. http://dx.doi.org/10.1007/bf03349246.

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Vescovini, Graziella Federici. "Alhazen Vulgarisé: Le De li aspecti d'un manuscrit du Vatican (moitié du XIVe siècle) et le troisième Commentaire sur l'optique de Lorenzo Ghiberti." Arabic Sciences and Philosophy 8, no. 1 (March 1998): 67–96. http://dx.doi.org/10.1017/s0957423900002447.

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Dans sa description de l'œuvre en langue vulgaire de Lorenzo Ghiberti, Giorgio Vasari, quoiqu'il en dénigre certains aspects, saisit bien, nous semble-t-il, les traits marquants des Commentaires de Lorenzo, en particulier ceux du troisième livre concernant l'optique: Scrisse Lorenzo un'opera in volgare nella quale trattò di molte cose, ma sì fattamente che poco costrutto se ne cava… [que l'on en tire très peu de connaissances utiles…] Né tacerò che egli mostra il libro essere stato fatto da altri [Je ne tairai pas qu'il montre que le livre a été fait par d'autres personnes]

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Lush, Rebecca. "Giorgio Vasari and the Birth of the Museum ed. by Maia Wellington Gahtan." Parergon 32, no. 1 (2015): 236–38. http://dx.doi.org/10.1353/pgn.2015.0004.

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Ivanytska, L. "LIFE PATH AND CREATIVITY OF PROPERZIA DE ROSSI IN THE CYCLE OF CONCEPTS “MEDIEVAL WOMAN”, “ART”, “SOCIETY”." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 139 (2018): 35–41. http://dx.doi.org/10.17721/1728-2640.2018.139.06.

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The article raises questions about the role and place of women in medieval society and the artistic space. The possibilities for realizing the artistic potential of female artists and female sculptors are explored. The historiography of the outlined problem is analyzed. It is noted that the main obstacles to full creative self-realization of the female artists were numerous social stereotypes, limited access to professional artistic education and artistic practice, lack of social and economic independence, social discrimination and harassment in the process of becoming part of the androcentric professional elite. An example of an analysis of the way of life and the creative work of the first famous sculpture woman of the Renaissance Properzia de Rossi era demonstrated the intolerance of the medieval society and the artistic community to the possibility of self-realization of the medieval female artist as a sculptor. The main source for research is the monumental work of the Italian architect, theorist and first historian of art, Giorgio Vasari, «The Lives of the Most Excellent Painters, Sculptors, and Architects». Propperzia de Rossi is one of the four female artists whom Vasari is paying attention in his stories. The author of the article has shown that Vasari belted the biography of Propercia de Rossi, as he strengthened his contemptuous attitude to the mistress. Vasari used the life and work of de Rossi as an example of the fact that all women, albeit very talented and capable of creating interesting work, are not in a position to escape certain female character traits in their writings. Finally, Vasari recognizes the talent of Properzia de Rossi and states the lack of understanding and worthy support from the contemporary society. At the end of the article, the author concludes on the urgent need for a critical analysis of the rather tendentious present-day presentation of the history of the arts and the need to revisit previously unobserved gender aspects in canonical Western-European art.

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Parker, Deborah. "The Role of Letters in Biographies of Michelangelo*." Renaissance Quarterly 58, no. 01 (2005): 91–126. http://dx.doi.org/10.1353/ren.2008.0656.

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Abstract This study examines the role that Michelangelo’s letters have played in biographies of the artist. It focuses on two periods — the Renaissance and the late nineteenth and early twentieth centuries, the latter witnessing an outpouring of biographies on Michelangelo. The first section of the study examines the way in which Giorgio Vasari edited the letters he received from Michelangelo in his 1568 vita of the sculptor. In the second section I analyze how the availability of the letters, through a long and fitful process, influenced the way in which biographers from John S. Harford to Giovanni Papini characterize Michelangelo and his world.

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Betti, Michele, Valentina Bonora, Luciano Galano, Eugenio Pellis, Grazia Tucci, and Andrea Vignoli. "An Integrated Geometric and Material Survey for the Conservation of Heritage Masonry Structures." Heritage 4, no. 2 (April 12, 2021): 585–611. http://dx.doi.org/10.3390/heritage4020035.

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This paper reports the knowledge process and the analyses performed to assess the seismic behavior of a heritage masonry building. The case study is a three-story masonry building that was the house of the Renaissance architect and painter Giorgio Vasari (the Vasari’s House museum). An interdisciplinary approach was adopted, following the Italian “Guidelines for the assessment and mitigation of the seismic risk of the cultural heritage”. This document proposes a methodology of investigation and analysis based on three evaluation levels (EL1, analysis at territorial level; EL2, local analysis and EL3, global analysis), according to an increasing level of knowledge on the building. A comprehensive knowledge process, composed by a 3D survey by Terrestrial Laser Scanning (TLS) and experimental in situ tests, allowed us to identify the basic structural geometry and to assess the value of mechanical parameters subsequently needed to perform a reliable structural assessment. The museum represents a typology of masonry building extremely diffused in the Italian territory, and the assessment of its seismic behavior was performed by investigating its global behavior through the EL1 and the EL3 analyses.

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Cassella, Antonio. "Freeing Leonardo da Vinci’s Fight for the Standard in the Hall of the Five Hundred at Florence’s Palazzo Vecchio." International Journal of Social Science Studies 5, no. 10 (September 17, 2017): 1. http://dx.doi.org/10.11114/ijsss.v5i10.2657.

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In June 2017, the author wrote an article in the International Journal of Social Science Studies in which he hypothesized that the Hall of the Five Hundred at Florence’s Palazzo Vecchio has been protecting the central piece of Leonardo da Vinci’s mural Battle of Anghiari: The Fight for the Standard (La lotta per lo stendardo) under Giorgio Vasari’s painting Battle of Marciano for 512 years now. On the evening of August 10, 2017, the author read a veiled message left by Vasari: The vertical line that passes through the center of the Battle of Marciano also passes through the center of the Fight for the Standard. On the evening of August 15, the author read a second secret message left by Vasari: The bottom of Leonardo’s Battle of Anghiari aligns with the floor of the Hall of the Five Hundred. Beyond previous hypotheses, the author envisions here that, after drilling a 1/2-inch hole at 0.915 meters from the floor, on the vertical line that leaves the virtual larynx of the screaming supine soldier in the Battle of Marciano, a laparoscope will point at the virtual larynx of the yelling prostrate soldier in the Fight for the Standard. Our wild assault against the wild and against humanistic intelligence is unsustainable. From a humanistic standpoint, the quantum-computing search to see again the classical-computing conflict attached to the Fight for the Standard will lead to a global Renaissance: The union of ancient knowledge about social values with modern scientific and technological skills will dispel global warming and fundamentalist-driven terrorism, while freeing our descendants to explore the cosmos in the next 7000 years.

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Colby, Robert. "Dosso's early artistic reputation and the origins of landscape painting." Papers of the British School at Rome 76 (November 2008): 201–31. http://dx.doi.org/10.1017/s0068246200000477.

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Nei loro rispettivi resoconti biografici di Dosso Dossi (1487?—1542), Paolo Giovio e Giorgio Vasari descrissero l'artista della corte ferrarese con una buona reputazione per la pittura dei paesaggi. Con questo articolo si esamineranno le reazioni critiche alla luce del programma storiografico di ciascun autore, considerando come si evolvevano gli approcci di Dosso alla pittura dei paesaggi nel corso della sua carriera. I dipinti di Dosso sono stati a lungo visti come primi esempi di un ‘paesaggio indipendente’, costrutto che deve essere esaminato di nuovo al fine di comprendere pienamente lo scopo, il contesto e il significato delle inusuali scene di paesaggio della pittura di Dosso.

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Gambino Longo, Susanna. "La fortuna delle Genealogiae deorum gentilium nel ’500 italiano: da Marsilio Ficino a Giorgio Vasari." Cahiers d’études italiennes, no. 8 (July 15, 2008): 115–30. http://dx.doi.org/10.4000/cei.892.

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Revzina, Yulia. "All’antica life style: private thermae in Italian Renaissance architecture." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 68–82. http://dx.doi.org/10.36340/2071-6818-2021-17-1-68-82.

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The heritage of antiquity was the basis of Italian Renaissance architecture and inexhaustible source of inspiration for its masters. Among the facilities of par - ticular interest for architects and lovers of the epoch were the Roman thermae. Their parts and elements brought to life a variety of spatial solutions in architecture of tem - ples, villas and cathedrals. However the attempts to lit - erally build the thermae similar to Roman ones in time of Renessaince were rare to encounter. The most detailed description of Renessaince ther - mae was given by Giorgio Vasari in the life story “ On Le - one Leoni Aretino and other sculptors and architects” which involves the brief biography of Galeazzo Aless - si. It narrates, among others, about the thermae built by Galeazzo Alesssi on Grimaldi (later Sauli) villa in Bisagno nearby Genova (the building was not saved). According to Vasari, the thermae were octagonally planned pavilion with the round pool in its centre. The interior was worked in antique style. The article gives an insight into efforts to build the private thermae during Renaissance, prior to Villa Grimaldi’s pavilion, which testifies to customers’ looking to reconstruct all’antica lifestyle in private life particularly on the villa which, following an - cient men of latters was regarded as ‘temple of muses’.

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Dobrez, Livio, and Patricia Dobrez. "Vasari, Schapiro, Schaafsma: Three Points of Departure for a Discussion of Style in Rock Art." Arts 8, no. 3 (July 2, 2019): 80. http://dx.doi.org/10.3390/arts8030080.

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This article examines the concept of style by combining three approaches: that of Giorgio Vasari, whose work is a classic of Western art history, that of Meyer Schapiro, which mediates between art–historical and archaeological/anthropological disciplines, and that of Polly Schaafsma, an example of what stylistic analysis may achieve in rock art studies. We foreground rock art by reason of its ubiquity and time-depth, at the same time placing it in the context of any kind of depiction. In the course of the argument, we comment on a variety of relevant issues, such as those relating to progress in art; to realism; to the relation of style and history, that is, cultural context; and to quantitative as well as qualitative analytical methodologies.

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Bezerra, João Cícero Teixeira. "Dois Angélicos: Argan e Didi-Huberman." ARS (São Paulo) 14, no. 28 (December 28, 2016): 53. http://dx.doi.org/10.11606/issn.2178-0447.ars.2016.121441.

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O presente artigo apresenta dois perfis criados para Fra Angelico por dois historiadores da arte, Giulio Carlo Argan e George Didi-Huberman. Cotejam-se aproximações existentes entre a percepção dos historiadores no que se refere ao caráter inabitual de Angelico dentro do contexto do Renascimento italiano e as diferentes metodologias de abordagens usadas pelos estudiosos. Analisa-se o modo diferenciado de interpretação dado pelos autores às pinturas do artista e às fontes intelectuais formativas de Angelico, como São Tomás de Aquino, e apresenta-se o diálogo de ambos com a produção de Giorgio Vasari. Assim, o trabalho ajuíza sobre duas perspectivas historiográficas, a moderna de Argan e a contemporânea de Didi-Huberman, a fim de produzir um juízo acerca dos limites dos métodos.

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LOCONTE, AISLINN. "THE NORTH LOOKS SOUTH: GIORGIO VASARI AND EARLY MODERN VISUAL CULTURE IN THE KINGDOM OF NAPLES." Art History 31, no. 4 (September 2008): 438–59. http://dx.doi.org/10.1111/j.1467-8365.2008.00624.x.

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Zuena, M., L. Baroni, V. Graziani, M. Iorio, S. Lins, M. A. Ricci, S. Ridolfi, et al. "The techniques and materials of a 16th century drawing by Giorgio Vasari: A multi-analytical investigation." Microchemical Journal 170 (November 2021): 106757. http://dx.doi.org/10.1016/j.microc.2021.106757.

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Cast, David. "Speaking of Architecture: The Evolution of a Vocabulary in Vasari, Jones, and Sir John Vanbrugh." Journal of the Society of Architectural Historians 52, no. 2 (June 1, 1993): 179–88. http://dx.doi.org/10.2307/990784.

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The reading Jones gave to the books he owned could serve him in various ways. This article is concerned with one such use he made of the materials in the Vite by Giorgio Vasari, one volume of which we know he possessed and on which he made notes. It is suggested that this text gave him an opportunity to construct a critical vocabulary for architecture, different in character from that available to him from such sources as Palladio, Vitruvius, or Serlio. And it is also suggested that this new vocabulary is specifically reflected in two passages about architecture, and in what J. A. Gotch called Jones' sentiments about architecture, written in the notebook now at Chatsworth. In addition, this article is concerned with the development of a more general vocabulary in England in the seventeenth century, for gentlemen and architects alike, that came from the tradition of praise, or epideixis, together with terms of a more particular kind to refer to the parts of architecture that came both from Italian and French.

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Cassella, Antonio. "The Psychological Roots of Creativity in Messages Left by Leonardo da Vinci, Giorgio Vasari, and a Neanderthal Troglodyte." Journal of Arts and Humanities 5, no. 8 (August 22, 2016): 12. http://dx.doi.org/10.18533/journal.v5i8.966.

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<p>The perfect memory that informs our local autistic facet is insufficient to deal with the unforeseen change that challenges our nonlocal artistic facet. The loss of quantum nonlocality leads autistics to fail tests rooted in overcoming the less-than-perfect ambiguity that elicits our creativity. The psychological structure by which perfect memory and less-than-perfect creativity empower each other remains in darkness. This article broaches the hypothesis that Leonardo da Vinci envisioned the union of local perfection and nonlocal less-than-perfection, and that he hid his insight in the Adoration of the Magi. Leonardo’s knowledge - expressed here as the logos heuristic—guides a psychological interpretation of the smile of Mona Lisa; of the four avatars of the Vitruvian Man; of the recognition and location of Leonardo’s unknown painting Natività; of the exact location of his lost work, Battaglia di Anghiari; and of a 39,000-year-old abstract engraving in Gorham’s cave at Gibraltar. Logos can be used to single out local, nonlocal computing, and their alliance in pursuing a humanistic path to progress.</p>

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Cheney, Liana De Girolami. "Giorgio Vasari, Saint Thomas of Aquinas and the Heretics In the Chapel of Pius V: A New Discovery." Explorations in Renaissance Culture 39, no. 1 (December 2, 2013): 111–33. http://dx.doi.org/10.1163/23526963-90000442.

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Grasman, Edward. "David J. Cast ed., The Ashgate Research Companion to Giorgio Vasari. Farnham: Ashgate, 2014. Pp. xv+338. US$149.95 (cloth).Maia Wellington Gahtan, ed. Giorgio Vasari and the Birth of the Museum. Farnham: Ashgate, 2014. Pp. 296. US$103.00 (cloth)." History of Humanities 1, no. 2 (September 2016): 413–17. http://dx.doi.org/10.1086/687978.

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Ackerman, James S. "Patricia Rubin. Giorgio Vasari: Art and History. New Haven and London: Yale University Press, 1995. ix + 448 pp. $45.00." Renaissance Quarterly 50, no. 2 (1997): 639–40. http://dx.doi.org/10.2307/3039233.

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Tuttle, Richard J. "Review: Trattati, con l'aggiunta degli scritti di architettura di Alvise Cornaro, Francesco Giorgi, Claudio Tolomei, Giangiorgio Trissino, Giorgio Vasari by Pietro Cataneo, Giacomo Barozzi Da Vignola." Journal of the Society of Architectural Historians 51, no. 1 (March 1, 1992): 97–98. http://dx.doi.org/10.2307/990649.

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Rossi, Massimiliano. "The Ashgate Research Companion to Giorgio Vasari. David J. Cast, ed. Farnham: Ashgate Publishing Limited, 2014. xv + 338 pp. $149.95." Renaissance Quarterly 68, no. 1 (2015): 240–41. http://dx.doi.org/10.1086/681320.

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Máté, Ágnes. "Fabula és história határán: két festői történet a XVI. század Magyarországáról." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 99–112. http://dx.doi.org/10.14232/antikren.2018.1.99-112.

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The paper discusses two anecdotes concerning the Hungarian court. The first anecdote is transmitted by Le Vite of Giorgio Vasari on Visino, a Florentine painter, and his adventure in the court of Louis II. The big-mouth Florentine almost lost his life because the Hungarian aristocrats misunderstood his communicating of cultural preferences for Tuscany in comaprison to Buda court. The other text is a short narrative taken from the Le Sei Giornate of Sebastiano Erizzo. Erizzo's story tells about King John Szapolyai and one of his servants who stole a precious ring from his master. The servant accuses a painter of the sin and almost makes him killed for something the painter did not commit. The King, conscious about his servant's deed frees the painter and punishes the servant by sending him away from his service and giving him the same ring the servant risked his own position and another person's life for. My analysis discusses the possible historical and cultural background of the two stories. It also calls attention to the psychological effects they may have caused in their contemporary readers and the different reading strategies we approach them after the Enlightment of European culture.

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Feuillet, Michel. "Giorgio Vasari, Entretiens du Palazzo Vecchio / Ragionamenti di Palazzo Vecchio, introduction, traduction et notes de Roland Le Mollé, texte établi par Davide Canfora." Italies, no. 12 (December 1, 2008): 508–9. http://dx.doi.org/10.4000/italies.4216.

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Brandão, Angela. "Anotações sobre a centralidade do artista na história da arte." Revista PHILIA | Filosofia, Literatura & Arte 1, no. 2 (October 1, 2019): 68–88. http://dx.doi.org/10.22456/2596-0911.93030.

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Este artigo discute alguns aspectos historiográficos acerca da importância dos artistas, como foco para a construção da narrativa sobre arte no tempo. Nas origens da historiografia da arte, com Giorgio Vasari, as biografias de artistas constituíram o fio condutor do texto. Porém, já se considerava o artista como parte de um sistema do qual faziam parte o ateliê, os mecenas, personagens e contextos sociais que transcendiam à individualidade do artista criador. O texto vasariano foi um modelo a ser seguido e um esquema a ser superado durante os séculos XVII e XVIII, observando os escritos de Bellori ou de Luigi Lanzi. As biografias de artistas foram sendo, portanto, adaptadas aos conceitos de estilo, escola e gênero. A criação do gênero monográfico no final do século XIX, por Carl Justi, permitiu a biografia de um único artista, em lugar do conjunto de vidas. Se, contudo, no início do século XX, pareceu possível construir uma história da arte que ofuscasse o papel do artista, em nome da obra de arte entendida como um objeto em sua pura visibilidade, por autores como Wölfflin; iniciou-se, em contrapartida, uma reconstrução historiográfica na qual o artista voltava a ocupar um papel central na narrativa, porém agora como parte de uma categoria social, em obras como as de Wackernagel, Baxandall ou Warnke.Palavras-chave: Historiografia da arte. História social da arte. Artista. Biografia

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Cast, David. "The Collector of Lives: Giorgio Vasari and the Invention of Art. Ingrid Rowland and Noah Charney. New York: W. W. Norton, 2017. xii + 420 pp. $29.95." Renaissance Quarterly 72, no. 2 (2019): 613–14. http://dx.doi.org/10.1017/rqx.2019.144.

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Prijatelj Pavičić, Ivana. "U traganju za povijesnim, kulturnim i umjetničkim identitetom umjetnika Schiavona: crtice iz povijesti njihove recepcije u 16. i 17. stoljeću." Ars Adriatica, no. 4 (January 1, 2014): 313. http://dx.doi.org/10.15291/ars.503.

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The author of the paper demonstrates how sixteenth- and seventeenth-century historiography applied a number of identity stereotypes which were linked to the Slavs, Dalmatians, Illyrians, Morlachs, and Croats in contemporary literature and scholarship to three well-known Schiavoni artists: Andrea Meldola (Andrija Medulić), Niccoló dell’Arca and Giulio Clovio (Julije Klović). For example, the qualifier ‘barbaric’, used to denote the work of Niccoló dell’Arca in sixteenth-century historiography from Bologna, represents one of the stereotypical characteristics about the Schiavoni which were frequent at the time.The first part of the article focuses on sixteenth-century interpretations of the Croatian and Macedonian identity (origin) of the famous painter of miniatures, Giulio Clovio (Julije Klović) in the works of his contemporaries such as Giorgio Vasari and Francisco de Holanda, followed by those in the nineteenth- and twentieth-century works of Ivan Kukuljević Sakcinski, Ivan Golub and Milan Pelc. Particular attention is given to the currently prevailing hypothesis that the Macedonian origin of Giulio Clovio (Julije Klović) might have been invented with the aim of testifying to his artistic and ancestral rootedness in the classical world.The second part of the article deals with records about Andrea Meldola and Niccoló dell’Arca in the writings of Italian historiographers Girolamo Borselli, Cherubino Cherardacci, Carlo Ridolfi and Marco Boschini, all of whom tried to interpret specific stylistic features in the works of these two artists as a consequence of what one can call their genotype and phenotype. The author of the article draws particular attention to the appearance of the ideologeme concerning the barbaric character of Niccoló dell’Arca in the records of Girolamo Borselli (late fifteenth century) and Cherubino Cherardacci (sixteenth century).

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Trubnikоva, Liudmyla. "AN EVOLUTION OF MIMIC LOOK AT FINE ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 161–69. http://dx.doi.org/10.33838/naoma.28.2019.161-169.

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This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.

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Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 19. http://dx.doi.org/10.25038/am.v0i16.251.

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Early modern art and art theory are still considered by historians and theorists of art mainly in terms of aesthetic principles in the service of the representation of political and ideological concepts. However, the body of early modern art and especially theory abounds with notions, which anticipate the modernist tendencies of self-criticism. In this paper, we would like to suggest that self-criticism also characterized pre-Modernist art, complemented by advanced art criticism, especially during the Mannerist era. We would like to point out that the notion of self-criticism equally applies to both early modern art and art theory in which the specific concentration on problems of construction and composition of painting based its foundations on abstract mathematical rules, serving to justify and dignify the medium itself. Furthermore, this tendency divorced the art of painting, specifically, from the illusion of reality, thus entrenching it more firmly in its own area competence, to use Clement Greenberg’s phrase. We would also like to demonstrate that late 16th-century art theory pushed well beyond its time, especially the theory written by artists. Their programmatic reliance on pre-existing pictorial models allowed these artists-theorists to abandon the question of realism and naturalism for pure speculation, which could not have been achieved in contemporary practice. We would like to suggest that ideas of abstraction and speculation, so characteristic of Modernist art, featured well before Modernism in the writings of Mannerist artists and theorists Giorgio Vasari, Giovanni Paolo Lomazzo, and Federico Zuccari. Article received: March 26, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Milosavljević, Angelina. "On Proto-Modernist Traits in Early Modern Art Theory." AM Journal of Art and Media Studies 16 (2018): 19−28. doi: 10.25038/am.v0i16.251

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Murphy, Debra. "Context and Meaning: An Investigation of The Holy Family with the young St.John the Baptist Attributed to Giorgio Vasari in The Cummer Museum of Art and Gardens, Jacksonville, Florida." Explorations in Renaissance Culture 39, no. 1 (December 2, 2013): 23–39. http://dx.doi.org/10.1163/23526963-90000436.

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Journal articles on the topic 'Vasari, Giorgio'

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