His last major commission was a vast The Last Judgement fresco on the ceiling of the cupola of the Florence Cathedral that he began in 1572 with the assistance of the Bolognese painter Lorenzo Sabatini. presents Lives of the Most Eminent Painters, Sculptors and Architects by Giorgio Vasari translated by Gaston du C. Of course, it can get boring at times when reading of an artist you never heard about and going through long passages on his work, and from what I understand, this edited version doesn’t even include all the artists he wrote about. Any crafts person, including those of us in technology is likely to find this touching and inspirational. Sent to Florence at the age of sixteen by Cardinal Silvio Passerini, he joined the circle of Andrea del Sarto and his pupils, Rosso Fiorentino and Jacopo Pontormo, where his humanist education was encouraged.

Vasari had a prolific career in the city, working for the Medici family, notably for Cosimo I, Grand Duke of Tuscany. Despite some factual inaccuracies, Michelangelo praised Vasari for endowing artists with immortality. One of You, A German in Florence offers a panoply of snippets from Kippenberger’s everyday life in the modern Renaissance city, rendered in black and white oil paint. In Florence the biographies of artists were revised and implemented in the late 17th century by Filippo Baldinucci.Working for the Zoli modelling agency (available for “special bookings only”), Warhol sold his celebrity to various companies for product endorsements in television and print, giving a sense of inevitability to his early Pop appropriations of such banal products as Brillo scrubbing pads and Campbell’s soup. This paradoxical coupling of extreme public exposure and sense of invisibility might be chalked up to some manifestation of false modesty, as morally bankrupt as his indiscriminate activities, but it could also be attributed to the fulfilment of one of his philosophic maxims. While there is no single moment of origin when artists began to elevate their own personas into something more significant than simple biographical interest, there are those who have contributed to the transformation of persona into an autonomous field of artistic activity, equal to any traditional artistic practice. Interpretations of Picabia’s art, writings and lifestyle are all subject to these Nietzschean principles of deformation and nihilism.

It is a unique piece of urban planning that functions as a public piazza, and which, if considered as a short street, is unique as a Renaissance street with a unified architectural treatment [ clarification needed]. He harnessed the power of celebrity – his own, the celebrities he created, the culture’s growing thirst for celebrity as such – elevating it to a different status. This use of persona, however, should not be confused with a type of art practice that emerged in the course of the 1970s in which artists used their own life as their primary subject matter. Many of his paintings still exist, the most important being on the wall and ceiling of the Sala di Cosimo I in the Palazzo Vecchio in Florence, [8] where he and his assistants worked from 1555.

His overactive social life was relentlessly photographed by the paparazzi, and he appeared regularly in the society and gossip pages, with Michael Jackson, Bianca Jagger, Joan Collins, as well as countless other stars, royals and society women. Electroclash playlist put together by Susan Finlay at the launch of her book The Lives of the Artists. Giorgio was a Mannerist painter who was highly regarded both as a painter and architect in his day, but rather less so in later centuries.

There is Vasari the painter, Vasari the architect and courtier, Vasari the academician and, last but not least, Vasari the author whose name—and we have to consider carefully what this claim means—appears on the title page of his text, Le vite de’ più eccellenti architetti, pittori e scultori, published first in 1550 and then again in 1568 in an enlarged edition. John Symonds claimed in 1899 that, "It is clear that Vasari often wrote with carelessness, confusing dates and places, and taking no pains to verify the truth of his assertions" (in regards to Vasari's life of Nicola Pisano), while acknowledging that, despite these shortcomings, it is one of the basic sources for information on the Renaissance in Italy. This is a "meta-book", which stitches together separate files elsewhere on the Web as they appeared in a previously published book. These books represent a diversity of opinions, perspectives, and voices that scholars, art aficionados, and even those brand new to the history of art will find informative, accessible, and unique. somebody here points out that our relationship with this text is transformed by being able to google the artworks he's talking about.In 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. The work has a consistent and notorious favour of Florentines and tends to attribute to them all the new developments in Renaissance art – for example, the invention of engraving. Vasari’s passion for art and his undoubted standing as an art critic make this an uplifting and very informative read.

I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF's. His ‘wrongness’ was documented in his obsessive archival activities: the publication of his Diary and The Philosophy of Andy Warhol (From A to B and Back Again); his scrapbooks and Time Capsules. Unlike these life artists, those under discussion here are uninterested in the documentary or narrative framing of their lives, nor are they committed to the veracity of the tales they use in their works.but the language (or translation) is surprisingly fluent for a book almost 500 years old, and one shouldn’t forget that Vasari had almost no art history source to study from or professional methods of writing about art to follow.