Giorgio Vasari's Prefaces: Art and Theory. With a foreword by Wolfram Prinz
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Giorgio Vasari’s Prefaces: Art and Theory provides students and scholars alike with the opportunity to study and understand the art, theory, and visual culture of Giorgio Vasari and sixteenth century Italy. For the first time all of Vasari’s Prefaces from the Lives of the Artists (1568) are included translated into English as well as in the original Italian. Also included is an English translation of Giovanni Battista Adriani’s letter to Giorgio Vasari enlightening Vasari on the art of the ancient masters.
Through the eyes of Vasari, this book captures the creative achievements of his fellow artists - how they adopt nature and the classical tradition as their muses and how they ingeniously interpret the secular and religious themes of the past and present. Vasari himself is lauded for the transformation of the artist from one of being a mere laborer to one who imbues his work with intellectual depth and is recognized as a creator of beautiful visual myths.
through the art of disegno. Inspired by Vasari’s initiative, the Roman painter, Federico Zuccari (1532/3–1609), who is already involved in the foundation of the Florentine academy, establishes a Roman academy for the arts, the Accademia di San Luca, in 1593. Both academies, Florentine and Roman, have a unified goal of instructing young artists in the Fine Arts and, in particular, educating them about the connection between the arts and their respective artistic theories. It is difficult to
illustrious in the same art, of them, Euthykrates, who liked most his father’s firmness rather than the elegance in his work, and he strived to please more in the serious and severe aspects than in the sweet and pleasant delights where his father was especially celebrated. Made by this artist was a famous Hercules located in Delphi, an Alexander in hunting gear, the Tespian battle and a portrait of Trophonius in his oracle. He had Teisikrates 003_ChapterTwo:Cheney_Illustrations.qxd 12/12/2011
and it was not so well known who among them should have been commended the most, for each one’s work had been extremely perfect. A fifth master was added to these four, who made a pyramid on top of the Mausoleum of equal height to it, and on top he placed a chariot with four horses; a very unique work. In Rome, in the temple of Apollo Palatino, a Diana made by Leochares was kept, to which Avianius Evander remade its head for it came without it. Still very marvelous were a Hercules, made by
ancient times the statues of the first Roman kings were seen in Rome at the Capitol; and there was also placed a statue of Azzio Navio, who cut the stone with a razor for preservation of a good omen. Hermodorus, a sage from Ephesus, also had his statue there for having interpreted the Greek laws to the ten Roman citizens compiling the laws; and Horace Coclites, who alone on a bridge held up the Tuscans’ attack. Furthermore, many other ancient statues were seen, placed by the people of the Senate
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