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. About Vasari himself we know an extraordinary amount, not only from his own writings—in the edition of 1568 he included an explanation of his own life and works—but also from surviving materials that document his life at the court of Cosimo I and his eventful exchanges with so many of the patrons and literati of the period. More about artists than art, this book is a fascinating compendium of artists over a 250 year period, documenting how they worked and lived. Rather than being formalistic and pompous, this book is full of saucy and funny anecdotes about the Renaissance artists that preceded Vasari, some of whom he knew personally.

Michelangelo being beaten by his father and older brothers as a youth because he was so obsessed with drawing. In 155o he published his volume “The Lives of the Most Excellent Painters, Sculptors, and Architects,” an exhaustive (and imaginative) record of the artists of his day, and those who came before. This historical work describes the lives of forty-five artists, including Giotto, Brunelleschi, Fra Angelico, Botticelli, da Vinci, Raphael, Michelangelo, and Titian, with striking immediacy conveyed through character sketches, anecdotes, and detailed recording of conversations. Yet as the delegation of his artistic production slightly increased, Warhol made even more time for public appearances. Inspired by the great Vasari, Lives of the Artists, Lives of the Architects explores the meaning of art and artists today, their varying approaches to creating, and a sense of how their thinking evolves over time.Vasari also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio. Originally a critique of Joseph Beuys’s maxim, ‘Everyone – each person – is an artist… The Revolution is in us’, Kippenberger’s humble statement might seem to contradict his own self-generated mythology. These self-satisfied images marked the introduction of Koons’s own image into his work, while beating the critics to the punch. His professed love for the media goes beyond its usefulness as a communication tool: ‘I believe in advertisement and the media completely. 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].

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. Vasari is ofc not exactly an objective source but it's really enjoyable sensing how committed he feels to providing INFORMAtIOn, rather than developing some sort of 16th century burn book .In Florence the biographies of artists were revised and implemented in the late 17th century by Filippo Baldinucci.

His discourse is peppered with pseudo-revolutionary maxims, explaining the desires that drive his art: ‘to communicate with the masses’; to provide ‘spiritual experience’ through ‘manipulation and seduction’; to strive for higher states of being promised by ‘the realms of the objective and the new’. The Vite contains the biographies of many important Italian artists, and is also adopted as a sort of classical reference guide for their names, which are sometimes used in different ways. Kippenberger’s contradictory yet poignant use of self-performance/self-promotion was one possible answer to the challenge of existing in the contemporary cultural landscape. In 1547, he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni. Including David Hockney, Gilbert and George, Gerhard Richter, Louise Bourgeois, Rem Koolhaas, and Oscar Niemeyer, this is a wonderful and unique book for those interested in modern art.Gauvin Alexander Bailey, 'Santi di Tito and the Florentine Academy: Solomon Building the Temple in the Capitolo of the Accademia del Disegno (1570–71)', Apollo CLV, 480 (February 2002): pp. For more than half a century, Calvin Tomkins has brought readers breathtakingly close to the personalities, practices, ideas, and immediate environments of many of the most significant artists and creators of our time. 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.