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Vasari was born prematurely on 30 July 1511 in Arezzo, Tuscany. [6] Recommended at an early age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia, a skillful painter of stained glass.
The Lives of the Most Excellent Painters, Sculptors, and Architects (Italian: Le vite de' più eccellenti pittori, scultori, e architettori), often simply known as The Lives (Italian: Le Vite), is a series of artist biographies written by 16th-century Italian painter and architect Giorgio Vasari, which is considered "perhaps the most famous, and even today the most-read work of the older ...
The Last Judgment in the Cattedrale di Santa Maria del Fiore, in Florence, Italy is a fresco painting which was begun by the Italian Renaissance master Giorgio Vasari in 1572 and completed after his death by Federico Zuccari, in 1579.
A 1568 edition of Vasari's Lives of the Artists states "In Florence by his [Giorgione's] hand in the house of Giovan Borgherini's sons [is] the portrait of the same Giovanni, when he was young in Venice, and in the same painting his tutor guiding him; one can see in both heads finer tints of shadow than in any other work". It was probably ...
The rest of Italy tended to ignore or underestimate Venetian painting; Giorgio Vasari's neglect of the school in the first edition of his Lives of the Most Excellent Painters, Sculptors, and Architects in 1550 was so conspicuous that he realized he needed to visit Venice for extra material in his second edition of 1568. [8]
The aerial walkway designed by Giorgio Vasari was commissioned by Duke Cosimo de Medici in 1565 to allow grand dukes to move safely from Pitti Palace to the seat of government in Palazzo Vecchio.
There have been opinions on the different usage of colour in the painting from Giorgio Vasari to Charles Hope. Hope's opinion ”disliked use of the muddy colours, the physical types, the mannered pose of the Virgin or the badly drawn figure of Gabriel and the inept use of gesture”. [2] Hope's observation is an extension from Vasari's criticism.
Then, as envy cooled and the truth slowly dawned on them, people began to marvel at the new style established in Venice by Titian." [21] The Assumption in the Accademia in 1822. The placement of the painting over an altar attracted candle grease, and even by the time that Vasari saw it some decades