Giorgio Vasari, the Man and the Book.

1981 ◽  
Vol 12 (1) ◽  
pp. 101
Author(s):  
Edward J. Olszewski ◽  
T. S. R. Boase
Keyword(s):  
Giorgio Vasari

scholarly journals An Integrated Geometric and Material Survey for the Conservation of Heritage Masonry Structures

Heritage ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 585-611
Author(s):  
Michele Betti ◽  
Valentina Bonora ◽  
Luciano Galano ◽  
Eugenio Pellis ◽  
Grazia Tucci ◽  
...  
Keyword(s):  
Seismic Behavior ◽  
Laser Scanning ◽  
Global Analysis ◽  
Interdisciplinary Approach ◽  
Local Analysis ◽  
Masonry Building ◽  
In Situ Tests ◽  
Knowledge Process ◽  
Giorgio Vasari ◽  
House Museum

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.

Dosso's early artistic reputation and the origins of landscape painting

2008 ◽  
Vol 76 ◽  
pp. 201-231
Author(s):  
Robert Colby
Keyword(s):  
Landscape Painting ◽  
Giorgio Vasari ◽  
Sono Stati

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.

Myself when Young: Becoming a Musician in Renaissance Italy—or Not

2012 ◽  
Author(s):  
Bonnie J. Blackburn
Keyword(s):  
Niccolo Machiavelli ◽  
Giorgio Vasari ◽  
Niccolò Machiavelli ◽  
Renaissance Italy ◽  
Star Performers ◽  
Important Evidence ◽  
Additional Income

In his Lives, Giorgio Vasari mentions many artists who were talented at music when they were young, prominently Giorgione and Sebastiano del Piombo. Benvenuto Cellini resisted his father's pressure to choose music. Why? How rewarding was a musical profession in Renaissance Italy? It could be very lucrative, both for town musicians such as Cellini's father and for castratos. Moonlighting for banquets, dances, even spying, could bring in additional income. For gentlemen, music was a necessary social grace; they had private tutors, such as Silvestro Ganassi dal Fontego, who was himself a painter as well as a printer. Amateurs could learn from cathedral choirmasters, who were often music theorists, the pinnacle of the profession. The theorist Pietro Aaron, choirmaster at Imola Cathedral, then tutor to the sons of Sebastian Michiel, Grand Prior of the Knights of St John of Jerusalem in Venice, had a wide acquaintance among humanists, noblemen and other musicians, and his letters open a window on the life of a musician. Among his many professions, the writer Antonfrancesco Doni counted music; a madrigal he wrote in 1560 is included in an appendix. The ability to improvise verses and music was much prized, ranging from star performers such as Serafino Aquilano to amateurs such as Niccolò Machiavelli. Portraits of musicians are discussed; they offer important evidence but are difficult to interpret. The theorist Lodovico Zacconi concluded in 1592 that being a musician was not only an honourable and lucrative profession but an enjoyable one.

The Calm Centre

2019 ◽  
pp. 53-69
Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon
Keyword(s):  
Religious Texts ◽  
Giorgio Vasari ◽  
John The Baptist ◽  
Devotional Images ◽  
The Way

Chapter 2 opens the second section of the book, where the painting and its place in Leonardo’s body of work is considered. This chapter, on Leonardo and the ineffable, considers the way that he evoked the spiritual in his paintings, above all in his images of Christ. This stands in opposition to the image of Leonardo as a heretic, first suggested in the 1550 version of his Life by Giorgio Vasari. The documentation of Leonardo’s career and his last testament indicate that his Christianity was of a traditional kind. His library featured bibles and other standard religious texts. His statements indicate that the nature of the divine was not directly knowable, but manifested itself through the works created by God. In Leonardo’s devotional images and religious narratives, Christ and the Virgin act as calm centres expressing the elevated essence of supreme divinity. The Salvator Mundi and the late St John the Baptist are the most developed expressions of the otherness of the divine being, who knows secrets inaccessible to us.

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