Word: vasari
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...Sistine was put there by Michelangelo himself. James Beck cites a phrase in an account by Ascanio Condivi, a Renaissance biographer, about Michelangelo applying "so to speak, the ultima mano" (final touches) to the mighty fresco cycle; but Condivi did not say what medium these touches were in. Giorgio Vasari (1511-74), whose Lives of Italian artists is a fundamental source on the Sistine, describes how "Michelangelo desired to retouch some parts a secco, painting backgrounds, draperies and skies in ultramarine, and ornaments in gold." But he was prevented by Julius II, who wanted his chapel finished on All Saints...
...crucifixion. They were marketed to the masses, as devotional material to be studied in quiet meditation. Bound together into books, they were sold by Drer's wife at local fairs and by clergy at places of pilgrimage. According to the first and most unreliable of art historians, Giorgio Vasari, Drer's mid-life journey to Italy had as much to do with protecting his copyright as with studying classical volumes and perspective...
...dualism. He provided contrasting examples of frames used to project paintings and those used to adorn and enhance them. He emphasized that upon close scrutiny it is evident that some frames are decorated by architectural motifs like columns pediments, and arches thereby aesthetically representing their utilitarian role; some like Vasari's "The Musicians," act as a window through which the protagonists lean...
...fact that different artists had different aims and temperaments, told against his reputation. After he died, it went into decline. Lotto didn't drop out of sight, like Vermeer, and have to be completely rediscovered. But he wasn't highly valued in the later 16th century or after. Giorgio Vasari, whose Lives of the Most Eminent Painters, Sculptors and Architects (1550) was the cornerstone of Western art history, paid him little attention, and later art chroniclers were apt to assign his work to other artists. And--just as bad--other artists' work was assigned...
...problem for art-dictionary compilers is simple in its essence but in fact appallingly complex: the explosion of art-historical information in the past half-century. If you graphed its quantity, the line would run almost flat from Giorgio Vasari in the 16th century to John Ruskin in the mid-19th. But in the 20th century, and especially in the past 40 years, the line has gone almost vertical...