The Lives of the Artists (Oxford World's Classics)

The Lives of the Artists (Oxford World's Classics)

Giorgio Vasari, Peter Bondanella

Language: English

Pages: 616

ISBN: 0199537194

Format: PDF / Kindle (mobi) / ePub


These biographies of the great quattrocento artists have long been considered among the most important of contemporary sources on Italian Renaissance art. Vasari, who invented the term "Renaissance," was the first to outline the influential theory of Renaissance art that traces a progression through Giotto, Brunelleschi, and finally the titanic figures of Michaelangelo, Da Vinci, and Raphael.

This new translation, specially commissioned for the Oxford World's Classics series, contains thirty-six of the most important lives. Fully annotated and with a brand new package, Lives of the Artists is an invaluable classic to add to your collection.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

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fact that the works of Giotto, Andrea Pisano, Nino, and all the others I have 54 PREFACE TO PART TWO grouped together in the first part of my book because of the similarity in their style—when compared to the works of those artists who came after them—do not deserve extraordinary or even modest praise. I was well aware of this when I praised them. But anyone who will consider the nature of the times in which they lived, the scarcity of artisans, and the difficulty of finding good assistants

Annalena (a convent), he did two figures; and in Santa Trinita, upon the left door inside the church, he painted in fresco scenes from the life of Saint Francis: that is, the Saint receiving the stigmata; protecting the Church which he carries on his shoulders; and conferring with Saint Dominic.* He then worked in Santa Maria Maggiore on a chapel next to the side door leading to San Giovanni, where the panel and predella of Masaccio* stands, painting in fresco an Annunciation in which he created

appears God the Father; and of all the figures Paolo drew in this work this one is the most difficult, for God is flying towards the wall with His head foreshortened, and He 8O PAOLO UCCELLO possesses such force that His figure in relief seems to be bursting it open and forcing its way through. Besides this, Noah is surrounded by countless types of beautiful animals. In short, Paolo imparted to this work such softness and grace that it is without question superior to and better than all his

all were those by Niccolo d'Arezzo and Simone da Colle. The best was that by Lorenzo Il6 FILIPPO BRUNELLESCHI di Clone Ghiberti. It possessed design, care, inventiveness, skill, and figures which were well worked out. Nor was Filippo's scene much inferior to it, for in it he had represented Abraham sacrificing Isaac, along with a servant who, while waiting for Abraham near an ass grazing, pulls a thorn from his foot, a detail which deserves considerable praise. When the scenes were placed on

touch the expression of Her head or the gracefulness of the garments She is wearing. Also, Messer Lelio Torelli, the Lord Duke's chief Justice and Secretary, and no less an admirer of all the sciences, talents, and honoured professions than an eminent jurist, owns a marble panel of Our Lady by Donatello. Whoever wished to give a complete account of Donatello's life and works would have a longer story to tell than the one I intend to write about the lives of our artists, for he not only set his

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