、阿雷佐等地。他的许多照片仍然存在，最重要的是在萨拉di Cosimo I墙壁和天花板画
the of the贤士的崇拜
From Wikipedia, the free encyclopedia
; 30 July 1511 – 27 June 1574) was an
, writer, and historian, most famous today for his
Lives of the Most Excellent Painters, Sculptors, and Architects
, considered the ideological foundation of
Vasari was born in
Recommended at an early age by his cousin
, he became a pupil of
Guglielmo da Marsiglia
, a skillful painter of
. Sent to
at the age of sixteen by Cardinal Silvio Passerini, he joined the circle of
Andrea del Sarto
and his pupils
where his humanist education was encouraged. He was befriended by
whose painting style would influence his own.
Six Tuscan Poets
, c. 1544. From left to right: Marsilio Ficino, Cristoforo Landino, Francesco Petrarch, Giovanni Boccaccio, Dante Alighieri and Guido Cavalcanti.
Giorgio Vasari, The Garden of Gethsemane
In 1529, he visited Rome where he studied the works of
and other artists of the Roman
. Vasari's own
paintings were more admired in his lifetime than afterwards. 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
. He was consistently employed by members of the
and Rome, and worked in
, Arezzo and other places. Many of his pictures still exist, the most important being the wall and ceiling paintings in the Sala di Cosimo I in the
in Florence, where he and his assistants were at work from 1555, and the frescoes begun by him inside the vast
were completed by
and with the help of
. He also helped to organize the decoration of the
, now reassembled in the Palazzo Vecchio. Among his other pupils or followers are included
, Tommaso del Verrocchio, Federigo di Lamberto (Federigo del Padovano), Niccolo Betti, Vittor Casini,
(Salincorno), Jacopo Coppi (Jacopo di Meglio),
Piero di Ridolfo
of Monte Sansavino, Orazio Porta of Sansavino,
of Arezzo, Bastiano Flori of Arezzo, Fra Salvatore Foschi of Arezzo, and Andrea Aretino.
Aside from his career as a painter, Vasari was also successful as an architect. His
Palazzo degli Uffizi
opens up the vista at the far end of its long narrow courtyard, 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. The view of the Loggia from the Arno reveals that, with the
, it is one of very few structures that line the river which are open to the river itself and appear to embrace the riverside environment.
The Uffizi Loggia
In Florence, Vasari also built the long passage, now called Vasari Corridor, which connects the Uffizi with the
on the other side of the river. The enclosed corridor passes alongside the River Arno on an arcade, crosses the
and winds around the exterior of several buildings.
He also renovated the medieval churches of
Santa Maria Novella
. At both he removed the original
and loft, and remodelled the retro-
in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of
The Adoration of the Magi
which was commissioned by
Pope Pius V
in 1566 and completed in February 1567. It was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in
(Province of Alessandria, Piedmont).
In 1562 Vasari built the octagonal dome on the
Basilica of Our Lady of Humility
, an important example of
In Rome, Vasari worked with
Giacomo Barozzi da Vignola
Pope Julius III
The Lives of the Most Excellent Painters, Sculptors, and Architects
Lives of the Most Excellent Painters, Sculptors, and Architects
A cover of the
Often called "the first art historian",
Vasari invented the genre of the encyclopedia of artistic biographies with his
Le Vite de' più eccellenti pittori, scultori, ed architettori
Lives of the Most Eminent Painters, Sculptors, and Architects
), dedicated to Grand Duke
Cosimo I de' Medici
, which was first published in 1550. He was the first to use the term "
) in print, though an awareness of the ongoing "rebirth" in the arts had been in the air since the time of
, and he was responsible for our use of the term
, though he only used the word Goth which he associated with the "barbaric" German style. The
also included a novel treatise on the technical methods employed in the arts. The book was partly rewritten and enlarged in 1568, with the addition of woodcut portraits of artists (some conjectural).
The work has a consistent and notorious bias in favour of
, and tends to attribute to them all the developments in Renaissance art – for example, the invention of
. Venetian art in particular (along with arts from other parts of Europe), is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the second edition gave more attention to Venetian art (finally including
) it did so without achieving a neutral point of view.
Vasari's biographies are interspersed with amusing gossip. Many of his anecdotes have the ring of truth, while others are inventions or generic fictions, such as the tale of young
painting a fly on the surface of a painting by
that the older master repeatedly tried to brush away, a genre tale that echoes anecdotes told of the Greek painter Apelles. With a few exceptions, however, Vasari's aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as modern art historians do, and naturally his biographies are most dependable for the painters of his own generation and those of the immediate past. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions.
Vasari includes a sketch of his own biography at the end of the
, and adds further details about himself and his family in his lives of Lazzaro Vasari and
According to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term "competition" (or "concorrenza" in Italian) in its economic sense. He used it repeatedly, and stressed the concept in his introduction to the life of
, in explaining the reasons for Florentine artistic preeminence. In Vasari's view, Florentine artists excelled because they were hungry, and they were hungry because their fierce competition amongst themselves for commissions kept them so. Competition, he said, is "one of the nourishments that maintain them."
Vasari enjoyed high repute during his lifetime and amassed a considerable fortune. In 1547, he built himself a fine house in
(now a museum honouring him), and decorated its walls and vaults with paintings. He was elected to the municipal council or priori of his native town, and finally rose to the supreme office of
In 1563, he helped found the Florence
Accademia e Compagnia delle Arti del Disegno
, with the Grand Duke and Michelangelo as
of the institution and 36 artists chosen as members.