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

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Written by Giorgio Vasari who was an artist himself and lived roughly few decades after main renaissance events (that's why a lot of evidences and judgements from "The lives of the Artists" are disputed by modern specialists). He talks about who squandered his money on his terrible wife and who drank a lot ,but he talks about how Cimabue and Giotto started a new way of seeing things and recovered the art of the past,as well. At least on the surface, Warhol’s life and art in the Factory carried on as before: he continued to make films, paintings and sculptures, as well as having a hand in various cultural enterprises. Expecting a somewhat dry book from a 16th Century Italian author, this was easier and more enjoyable to read than I expected. It is a commonly held truth that this traumatic event soured Warhol, driving him toward more cynical modes of art making.

This was seen by all mankind in Leonardo da Vinci, in whom, besides a beauty of body never sufficiently extolled, there was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease.Knowing some information about the artists, their methods, their contemporaries, and their intentions can help make the mountains of Renaissance art here more meaningful (and less likely to start to blur together after a couple of the museums). According to the historian Richard Goldthwaite, [18] Vasari was one of the earliest authors to use the term "competition" (or "concorrenza" in Italian) in its economic sense.

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. Donatello’s generosity with workmen and friends while he was alive, and then leaving his small farm to a peasant instead of greedy relatives because he deserved it more.

He has championed the avant-garde and worked the miracle of making the difficult seem easy without talking down to readers. As I understand, as a Florentine Vasari showed whole renaissance art scene with a strong accent of that city, but even if so I haven't found some great artist of the period I adore who wasn't present in the book. i just love to see ye olde man pop off at each other about pigment sourcing, sexual proclivities, and noble patrons.

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. just remember what a privilege it is to google every artist while reading the chapters and seeing the beautiful art Vasari is writing about. For centuries, it has been the most important source of information on Early Renaissance Italian (and especially Tuscan) painters and the attribution of their paintings. Dadaist conspirator, enfant terrible of the Surrealist revolution, friend and occasional collaborator of André Breton, Marcel Duchamp, Man Ray and Tristan Tzara, the French artist Francis Picabia (1879–1953) has an indisputable place within the pantheon of the historical avant-garde.Vasari's Vite has been described as "by far the most influential single text for the history of Renaissance art" [8] and "the most important work of Renaissance biography of artists". A documentary feature that tells the stories of a group of young men who pursue their passions without compromise and in so doing demonstrate their Artistry.