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Contents

  1. Reading : Introducing Logic A Graphic Guide
  2. Download Le Vite De Più Eccellenti Pittori Scultori E Architetti 1851
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Reading : Introducing Logic A Graphic Guide

He was the architect for the Uffizi in Florence and the church, monastery, and palace created for the Cavalieri di San Stefano in Pisa. His murals can be seen at the Palazzo Vecchio in Florence.


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During his travels, Vasari took notes on various artists and paintings he encountered which resulted in his book, The Lives of the Most Excellent Italian Architects, Painters, and Sculptures. He also wrote biographies of Italian Renaissance artists. He died on June 27, Giorgio Vasari.

Cosimo Medici was regarded as the model for Macchiavelli 's The Prince. Vasari's father died in in a plague.

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While still a boy Vasari was introduced to Cardinal Silvio Passerini who put him to study in Florence, in the circle of Andrea del Sarto and his pupils Rosso and Pontormo. Vasari came into close contact with some of the leading humanists. Among his teachers was Piero Valeriano, a classical scholar and the author of the Hieroglyphica. In Florence he met Michelangelo, who was soon called to Rome. However, Vasari idolized him as an artist for the rest of his life.

Vasari's father died of the plague, leaving him a family to support. He started to practise architecture, and earned enough money to arrange the marriage of one of his sisters and place another in the Murate at Arezzo. Vasari left Florence when his patron, Duke Alessandro, was assassinated.

He wandered from town to town, filling his notebooks, and sketching. Vasari worked between Florence and Rome as a painter.

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During this period he started to plan his book about artists. One evening, in Cardinal Farnese's house, probably in , the bishop of Nocera spoke of the need for a literary account of famous artists. Vasari volunteered to help Paolo Giovio in the project, but when Giovio gave up the idea of writing the book, Vasari accepted the challenge.

Conversations about Artistic Practice, Patronage and Christianity

In his thirties Vasari was a well-paid and successful painter, whose works were more or less Michelangelesque. As an architect he was more independent, and his temporary decorations for state ceremonies offered him opportunities for experiment. Among his principal works in Florence are Palazzo Vecchio's frescoes, but he never completed the decoration for the cupola of the cathedral. In Rome he made the greater part of the historical decoration of the Sala Regia at the Vatican and the so-called ' days fresco' in the Sala della Cancerria, in the Palazzo San Giorgio. In Michelangelo wrote to Vasari about the completion of the staircase in the Biblioteca Laurenziana, saying that he was confident that Vasari and Ammanati would be able to execute it.

Vasari's only important independent architectural work is seen in the Uffizi Palace, which was begun in The Uffizi was designed as the government offices of the new Tuscan state.

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Its most important occupants were the nine Conservatori, with their Scriptori, their Audienza and their Chancellery. The Uffizi has a beautiful narrow courtyard stretching down towards the river.

The finest point of the design is the airy loggia overlooking the Arno. Its first edition appeared in It dealt with artists who were dead or had completed their work. The only exception was Michelangelo.


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Vasari believed optimistically in historical progress. His aim was to show how the greatness of Ancient Rome died in the "dark ages" because of the destructiveness of barbarian tribes and the Christian antagonism to pictures. From Giotto the Tuscan started a revival of art. Vasari emphasized Giotto's fidelity to nature.

The ultimate perfection was reached in the hands of Michelangelo, also a Tuscan. The words in lingua Toscana were dropped from the title page because the Tuscan dialect had by then become the accepted literary language. For this enlarged and improved edition, Vasari made another tour round Italy and gathered new material and checked his facts. The work included portraits of the artists, enclosed within an architectural frame.