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The Lives of the Artists

by Giorgio Vasari

Other authors: Julia Conaway Bondanella (Translator), Peter Bondanella (Translator)

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866525,139 (3.74)12
Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art. Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, dominated by the titanic figures of Leonardo, Raphael, and Michelangelo.… (more)
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English (4)  Dutch (1)  All languages (5)
Showing 4 of 4
Seleções desse livro dos primórdios da história da arte da Europa italiana, que de tão influente, acabou por determinar os nomes das tartarugas ninja séculos depois. Publicado pela primeira vez em 1550, em Florença, consiste em uma série de mini biografias e anedotas dos grandes mestres da pintura, escultura, desenho e arquitetura do renascimento, século XV-XVI. Eu não recomendo, por ser pueril e um tanto chato, apesar da versão charmosa a que ouvi (ótimo narrador e música ocasional incrível).

Entretanto, lá aprenderemos que Filippo Brunelleschi fingiu estar doente para obrigar o incompetente Lorenzo a trabalhar e mostrar que só ele poderia terminar a obra. Fra Fillipo Lippi, quis pintar Lucrécia no monasteiro, como uma virgem, mas acabou assim tornando a obra ficcional. Leonardo da Vinci, de dons divinos, que aprendia de tudo mas largava, e era muito forte e belo, e suas pinturas tem olhos que têm um brilho realista, que mostra como a arte imita a natureza, e nos faz imaginar que há uma pulsação no coração de Monalisa. Sua mulher era pintada com gente dançando e fazendo música em volta dela, pra que ela emanasse felicidade. Piero de Cosimo, se enfurnava pintando no quarto, e cozinhava ovos, uma dúzia de cada vez, pra ir comendo e não ter de parar de pintar. Das pinturas de Raphael Sanzio, dizemos verdadeiramente coisas vivas, de tão incríveis. E de tão divina, de um náufrago inteiro, só restava a obra dele, intacta, pois até a fúria das ondas respeitava pintura de tão grande perfeição. Rosso Fiorentino, por sua vez, de boa vida, acaba por acusar seu amigo de roubar-lhe e por estar errado e se suicidou, procurando em Paris um licor venenoso, que tomou. Franchesco Parmigianino era um tolo que gastou sua vida em insumos e experimentos de alquimia; e sua barba cresceu desordenada, ficando parecido com um selvagem. Michelangelo Buonarotti dissecou muitos cadáveres afim de aperfeiçoar-se no desenho. E quando um bispo o tirou, o papa lhe deu um solapo e abençoou Michelangelo. E lamentou a morte de Orbino como se ele fosse um amante muito amado, por que será? E Deus para castigar o orgulho romano permitio que os Borbões a saqueassem (isso em 1527). Por fim, Jacobo Sansovino aos 93 anos um dia foi dormir, e tão saudável e abençoado, simplesmente não conseguiu levantar, sem sofrer, daí definhando gradualmente até a morte. ( )
  henrique_iwao | Aug 30, 2022 |
This is a compilation of biographies of the great Florentine painters by one who knew them. Wonderful read, interesting insight. It has been disparaged today by some who insist that peer review articles take precedence because modern authorities are more critical. Oh, please. What the egos of the small minded are capable of! ( )
  JVioland | Jul 14, 2014 |
Quite simply, this is one of the greatest treatises on art in the history of man. It's hard to overstate the significance that this work has had on the art world through the ages. ( )
  conceptDawg | Aug 10, 2007 |
This book is a great read for anyone who is interested in the lives of some of the greatest artists of the Renaissance from a contemparary source. Vasari, who also coined the phrase "Renaissance" is able to simultaniously humanize and praise the artists who left an indelible mark on Western civilization. ( )
  Tipton_Renwick | Aug 18, 2006 |
Showing 4 of 4
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Author nameRoleType of authorWork?Status
Giorgio Vasariprimary authorall editionscalculated
Bondanella, Julia ConawayTranslatorsecondary authorall editionsconfirmed
Bondanella, PeterTranslatorsecondary authorall editionsconfirmed
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I know it is an opinion commonly accepted amongst all writers that sculpture, as well as painting, was first discovered in nature by the peoples of Egypt; and that some others attribute to the Chaldeans the first rough rough carvings in marble and the first figures in relief; just as others assign to the Greeks the invention of the brush and the use of colour.
The greatest discovery of the Renaissance was, undoubtedly, that man is the measure of all things, and the best, no, the only proper, study of man. Portraiture, rarely practiced during the Middle Ages, and biography, virtually dead after Plutarch, became favored pursuits, and it was an artist who was to combine both with distinction.
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This is an abridgment. Please do not combine with other abridgments unless you are sure they contain the same selections.
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Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art. Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, dominated by the titanic figures of Leonardo, Raphael, and Michelangelo.

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