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Lives of the Most Excellent Painters, Sculptors, and Architects

January 01, 1970

"The Lives" redirects here. For other uses, see Lives.
"Vite" redirects here. For the software, see Vite (software).

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 literature of art",[1] "some of the Italian Renaissance's most influential writing on art",[2] and "the first important book on art history".[3]

The Lives of the Most Excellent Painters, Sculptors, and Architects
Title page of the 1568 edition of Le Vite
AuthorGiorgio Vasari
Original titleLe Vite de' più eccellenti pittori, scultori, e architettori
TranslatorEliza Foster
CountryDuchy of Florence
LanguageItalian
SubjectArtist biographies
PublisherTorrentino (1550), Giunti (1568)
Publication date
1550, enlarged and revised in 1568
Published in English
1850
Pages369 (1550), 686 (1568)
OCLC458416630
709.22
LC ClassN6922 V4924
Original text
Le Vite de' più eccellenti pittori, scultori, e architettori at Italian Wikisource

Vasari published the work in two editions with substantial differences between them; the first edition, two volumes, in 1550 and the second, three volumes, in 1568 (which is the one usually translated and referred to). One important change was the increased attention paid to Venetian art in the second edition, even though Vasari still was, and has ever since been, criticised for an excessive emphasis on the art of his native Florence.

Background edit

The writer Paolo Giovio expressed his desire to compose a treatise on contemporary artists at a party in the house of Cardinal Farnese, who asked Vasari to provide Giovio with as much relevant information as possible. Giovio instead yielded the project to Vasari.[4]

As the first Italian art historian, Vasari initiated the genre of an encyclopedia of artistic biographies that continues today. Vasari's work was first published in 1550 by Lorenzo Torrentino in Florence,[5] and dedicated to Cosimo I de' Medici, Grand Duke of Tuscany. It included a valuable treatise on the technical methods employed in the arts. It was partly rewritten and enlarged in 1568 and provided with woodcut portraits of artists (some conjectural).

The work has a consistent and notorious favour of Florentines and tends to attribute to them all the new developments in Renaissance art – for example, the invention of engraving. Venetian art in particular, let alone other parts of Europe, is systematically ignored.[6] Between his first and second editions, Vasari visited Venice and the second edition gave more attention to Venetian art (finally including Titian) without achieving a neutral point of view. John Symonds claimed in 1899 that, "It is clear that Vasari often wrote with carelessness, confusing dates and places, and taking no pains to verify the truth of his assertions" (in regards to Vasari's life of Nicola Pisano), while acknowledging that, despite these shortcomings, it is one of the basic sources for information on the Renaissance in Italy.[7]

Vasari's biographies are interspersed with amusing gossip. Many of his anecdotes have the ring of truth, although likely inventions. Others are generic fictions, such as the tale of young Giotto painting a fly on the surface of a painting by Cimabue that the older master repeatedly tried to brush away, a genre tale that echoes anecdotes told of the Greek painter Apelles. 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 the immediately preceding one. Modern criticism—with all the new materials opened up by research—has corrected many of his traditional dates and attributions. The work is widely considered a classic even today, though it is widely agreed that it must be supplemented by modern scientific research.

Vasari includes a forty-two-page sketch of his own biography at the end of his Vite, and adds further details about himself and his family in his lives of Lazzaro Vasari and Francesco de' Rossi.

Influence edit

Vasari's Vite has been described as "by far the most influential single text for the history of Renaissance art"[8] and "the most important work of Renaissance biography of artists".[1] Its influence is situated mainly in three domains: as an example for contemporary and later biographers and art historians, as a defining factor in the view on the Renaissance and the role of Florence and Rome in it, and as a major source of information on the lives and works of early Renaissance artists from Italy.

The Vite has been translated wholly or partially into many languages, including Dutch, English, French, German, Polish, Russian and Spanish.

Early translations became a model for others edit

The Vite formed a model for encyclopedias of artist biographies. Different 17th century translators became artist biographers in their own country of origin and were often called the Vasari of their country. Karel Van Mander was probably the first Vasarian author with his Painting book (Het Schilderboeck, 1604), which encompassed not only the first Dutch translation of Vasari, but also the first Dutch translation of Ovid and was accompanied by a list of Italian painters who appeared on the scene after Vasari, and the first comprehensive list of biographies of painters from the Low Countries.[1] Similarly, Joachim von Sandrart, author of Deutsche Akademie (1675), became known as the "German Vasari" and Antonio Palomino, author of An account of the lives and works of the most eminent Spanish painters, sculptors and architects (1724), became the "Spanish Vasari".[9] In England, Aglionby's Painting Illustrated from 1685 was largely based on Vasari as well.[1] In Florence the biographies of artists were revised and implemented in the late 17th century by Filippo Baldinucci.

View of the Renaissance edit

The Vite is also important as the basis for discussions about the development of style.[10] It influenced the view art historians had of the Early Renaissance for a long time, placing too much emphasis on the achievements of Florentine and Roman artists while ignoring those of the rest of Italy and certainly the artists from the rest of Europe.[11]

Source of information edit

For centuries, it has been the most important source of information on Early Renaissance Italian (and especially Tuscan) painters and the attribution of their paintings. In 1899, John Addington Symonds used the Vite as one of his basic sources for the description of artists in his seven books on the Renaissance in Italy,[12] and nowadays it is still, despite its obvious biases and shortcomings, the basis for the biographies of many artists like Leonardo da Vinci.[13]

Contents of the 1568 edition edit

The Vite contains the biographies of many important Italian artists, and is also adopted as a sort of classical reference guide for their names, which are sometimes used in different ways. What follows is the complete list of artists appearing the second (1568) edition. In a few cases, different very short biographies were given in one section.

Volumes and parts edit

The 1568 edition was published in three volumes. Vasari divided the biographies into three parts. Parts I and II are contained in the first volume. Part III is presented in the two other volumes.

  •  
    Vol. 1 (= parts I and II)
  •  
    Vol. 1 (= parts I and II),
    title page variant
  •  
    Vol. 2 (first volume of part III)
  •  
    Vol. 3 (second volume of part III)

Volume 1 edit

The first volume starts with a renewed dedication to Cosimo I de' Medici,[14] followed by an additional one to Pope Pius V.[15] The volume contains an index of names and objects mentioned,[16] and subsequently a list of illustrations, and finally an index of places and their buildings also with references to the passages where they are mentioned in the text.[17] All these indexes are features, that facilitate using the book, and are still a model for today's art historical publications. Hereafter an almost 40 pages long lettera by Florentine historian Giovanni Battista Adriani to Vasari on the history of art is printed.[18] The principal part of the volume begins with a preface,[19] followed by an introduction into the background, the materials and techniques of architecture, sculpture, and painting.[20][21] A second preface follows,[22] introducing the actual "Vite".

Biographies, first part

Biographies, second part

Volume 2 edit

Biographies, third part

Volume 3 edit

Biographies, third part (continued)

Editions edit

 
Eliza Foster's 1850-51 translation of Vasari's Lives

There have been numerous editions and translations of the Lives over the years. Many have been abridgements due to the great length of the original.

The first English-language translation by Eliza Foster (as "Mrs. Jonathan Foster") was published by Henry George Bohn in 1850-51, with careful and abundant annotations. According to professor Patricia Rubin of New York University, "her translation of Vasari brought the Lives to a wide English-language readership for the first time. Its very real value in doing so is proven by the fact that it remained in print and in demand through the nineteenth century." [24]

The most recent new English translation is by Peter and Julia Conaway Bondanella, published in the Oxford World's Classics series in 1991.[25]

Versions online edit

Italian

  • 1550 edition Progetto Manuzio (PDF)
  • 1550 edition Selections drawn from a 1768 reprint
  • 1568 edition, Vol. 1 in the Internet Archive (biographies from Cimabue to Signorelli)
  • 1568 edition, Vol. 2 in the Internet Archive (biographies from Leonardo to Perino del Vaga)
  • 1568 edition, Vol. 3 in the Internet Archive (biographies from Beccafumi to Vasari)

English

  • Website created by Adrienne DeAngelis. Currently incomplete, intended to be unabridged
  • Stories Of The Italian Artists From Vasari Translated by E. L. Seeley, 1908, abridged

See also edit

  • Egg of Columbus (Lives contains a similar story to the Columbus' egg story)

References edit

  1. ^ a b c d Max Marmor, Kunstliteratur, translated by Ernst Gombrich, in Art Documentation Vol 11 # 1, 1992
  2. ^ "University of Leeds website". Webprod1.leeds.ac.uk. Retrieved 5 February 2014.
  3. ^ Murray, P. and L. Murray. (1963) The art of the renaissance. London: Thames & Hudson (World of Art), p. 8. ISBN 978-0-500-20008-7
  4. ^ Salmi, Mario; Becherucci, Luisa; Marabottini, Alessandro; Tempesti, Anna Forlani; Marchini, Giuseppe; Becatti, Giovanni; Castagnoli, Ferdinando; Golzio, Vincenzo (1969). The Complete Work of Raphael. New York: Reynal and Co., William Morrow and Company. p. 607.
  5. ^ "Christopher Witcombe, Art History and Technology". Witcombe.sbc.edu. Retrieved 5 February 2014.
  6. ^ "Takuma Ito, Studies of Western Art No. 12, July 2007". Sangensha.co.jp. Retrieved 5 February 2014.
  7. ^ "John Addington Symonds, Renaissance in Italy, 1899, Vol. 3, Part 2". Fullbooks.com. Retrieved 5 February 2014.
  8. ^ Professor Hope, The Warburg Institute, course synopsis, 2007 27 September 2007 at the Wayback Machine
  9. ^ Meurer, Susanne (2006). "'In Verlegung des Autoris': Joachim von Sandrart and the Seventeenth-Century Book Market". The Library: The Transactions of the Bibliographical Society. 7 (4): 419–449. Project MUSE 209221.
  10. ^ Elinor Richter, reviewing Philip Sohms study of style in the art theory 5 July 2007 at the Wayback Machine :"Giorgio Vasari's Vite, the first edition of which was published in 1550, provides the foundation for any discussion of the development of style."
  11. ^ Leone, Stephanie C (2007). "Emilia e Marche nel Rinascimento: L'Identità Visiva della 'Periferia' (review)". Renaissance Quarterly. 60 (1): 171–172. doi:10.1353/ren.2007.0077. S2CID 191928900. Project MUSE 212663. the traditional definition of Renaissance art as the humanistic innovations of Florentine and Roman artists, to which Giorgio Vasari's Vite (1550, 1568) gave rise.
  12. ^ "Full text of John Symonds' "Renaissance in Italy"". 13 March 2004. Retrieved 5 February 2014 – via Project Gutenberg.
  13. ^ "Bernard Barryte, The life of Leonardo da Vinci, University of Rochester Library Bulletin (1984)". Lib.rochester.edu. Retrieved 5 February 2014.
  14. ^ Allo illvstris ecc Signor Cosimo Medici, Dvca di Fiorenza £ Siena, pages 5-9 in the digitised original 1568 edition on Archive.org. The original dedication from 1550 is reprinted here again on pp. 10-13. (All the following links from this source are in full screen.)
  15. ^ Pius Papa Quintus, p. 14.
  16. ^ Indice copioso delle Cose piv notabili (Della prima, & seconda parte, ciorè del Primo Volume, pp. 20-37. The preceding page shows a self portrait of Vasari under the Medici coat of arms and above a miniature veduta of Florence.
  17. ^ Tavola de Lvoghi dove sono l'Opere descritte (Nella prima, & seconda parte), pp. 43-58.
  18. ^ Lettera di M. Giovambatista di M. Marcello Adriani a M. Giorgio Vasari, pp. 60-99
  19. ^ Proemio di tutta l'Opera, pp. 1(00)-8.
  20. ^ Introduzzione alle tre Arte del Disegno, cioè Architettura, Pittura, & Scoltura, pp. 10-65.
  21. ^ Vasari, Giorgio. (1907) Vasari on technique: being the introduction to the three arts of design, architecture, sculpture and painting, prefixed to the Lives of the most excellent painters, sculptors and architects. G. Baldwin Brown Ed. Louisa S. Maclehose Trans. London: Dent.
  22. ^ Proemio delle Vite, pp. 10-81.
  23. ^ Le Vite begin with p. 82. All following biographies in the digitised 1568 edition can be found through the search function or the indices at the beginning of the book (see also above).
  24. ^ Patricia Rubin, "Eliza Foster (dates unknown)", Interdisciplinary Studies in the Long Nineteenth Century 2019 (28). doi: https://doi.org/10.16995/ntn.864
  25. ^ Vasari, G. The Lives of the Artists. Translated with an introduction and notes by J.C. and Peter Bondanella. Oxford: Oxford University Press (Oxford World's Classics), 1991. ISBN 9780199537198

Sources edit

External links edit

  •   Media related to Vasari - Le vite de’ piu eccellenti pittori, scultori, et architettori at Wikimedia Commons
  •   Italian Wikisource has original text related to this article: Le vite de' più eccellenti pittori, scultori e architettori (1568)
  • Original Italian version from 1568 on archive.org
  • Petri Liukkonen. "Giorgio Vasari". Books and Writers.
  • Gli artisti principali citati dal Vasari nelle Vite (elenco)
  •   Lives of the Most Eminent Painters, Sculptors and Architects public domain audiobook at LibriVox

January 01, 1970
lives, most, excellent, painters, sculptors, architects, lives, redirects, here, other, uses, lives, vite, redirects, here, software, vite, software, italian, vite, più, eccellenti, pittori, scultori, architettori, often, simply, known, lives, italian, vite, s. The Lives redirects here For other uses see Lives Vite redirects here For the software see Vite software The Lives of the Most Excellent Painters Sculptors and Architects Italian Le vite de piu 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 literature of art 1 some of the Italian Renaissance s most influential writing on art 2 and the first important book on art history 3 The Lives of the Most Excellent Painters Sculptors and ArchitectsTitle page of the 1568 edition of Le ViteAuthorGiorgio VasariOriginal titleLe Vite de piu eccellenti pittori scultori e architettoriTranslatorEliza FosterCountryDuchy of FlorenceLanguageItalianSubjectArtist biographiesPublisherTorrentino 1550 Giunti 1568 Publication date1550 enlarged and revised in 1568Published in English1850Pages369 1550 686 1568 OCLC458416630Dewey Decimal709 22LC ClassN6922 V4924Original textLe Vite de piu eccellenti pittori scultori e architettori at Italian Wikisource Vasari published the work in two editions with substantial differences between them the first edition two volumes in 1550 and the second three volumes in 1568 which is the one usually translated and referred to One important change was the increased attention paid to Venetian art in the second edition even though Vasari still was and has ever since been criticised for an excessive emphasis on the art of his native Florence Contents 1 Background 2 Influence 2 1 Early translations became a model for others 2 2 View of the Renaissance 2 3 Source of information 3 Contents of the 1568 edition 3 1 Volumes and parts 3 2 Volume 1 3 3 Volume 2 3 4 Volume 3 4 Editions 5 Versions online 6 See also 7 References 8 Sources 9 External linksBackground editThe writer Paolo Giovio expressed his desire to compose a treatise on contemporary artists at a party in the house of Cardinal Farnese who asked Vasari to provide Giovio with as much relevant information as possible Giovio instead yielded the project to Vasari 4 As the first Italian art historian Vasari initiated the genre of an encyclopedia of artistic biographies that continues today Vasari s work was first published in 1550 by Lorenzo Torrentino in Florence 5 and dedicated to Cosimo I de Medici Grand Duke of Tuscany It included a valuable treatise on the technical methods employed in the arts It was partly rewritten and enlarged in 1568 and provided with woodcut portraits of artists some conjectural The work has a consistent and notorious favour of Florentines and tends to attribute to them all the new developments in Renaissance art for example the invention of engraving Venetian art in particular let alone other parts of Europe is systematically ignored 6 Between his first and second editions Vasari visited Venice and the second edition gave more attention to Venetian art finally including Titian without achieving a neutral point of view John Symonds claimed in 1899 that It is clear that Vasari often wrote with carelessness confusing dates and places and taking no pains to verify the truth of his assertions in regards to Vasari s life of Nicola Pisano while acknowledging that despite these shortcomings it is one of the basic sources for information on the Renaissance in Italy 7 Vasari s biographies are interspersed with amusing gossip Many of his anecdotes have the ring of truth although likely inventions Others are generic fictions such as the tale of young Giotto painting a fly on the surface of a painting by Cimabue that the older master repeatedly tried to brush away a genre tale that echoes anecdotes told of the Greek painter Apelles 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 the immediately preceding one Modern criticism with all the new materials opened up by research has corrected many of his traditional dates and attributions The work is widely considered a classic even today though it is widely agreed that it must be supplemented by modern scientific research Vasari includes a forty two page sketch of his own biography at the end of his Vite and adds further details about himself and his family in his lives of Lazzaro Vasari and Francesco de Rossi Influence editVasari s Vite has been described as by far the most influential single text for the history of Renaissance art 8 and the most important work of Renaissance biography of artists 1 Its influence is situated mainly in three domains as an example for contemporary and later biographers and art historians as a defining factor in the view on the Renaissance and the role of Florence and Rome in it and as a major source of information on the lives and works of early Renaissance artists from Italy The Vite has been translated wholly or partially into many languages including Dutch English French German Polish Russian and Spanish Early translations became a model for others edit The Vite formed a model for encyclopedias of artist biographies Different 17th century translators became artist biographers in their own country of origin and were often called the Vasari of their country Karel Van Mander was probably the first Vasarian author with his Painting book Het Schilderboeck 1604 which encompassed not only the first Dutch translation of Vasari but also the first Dutch translation of Ovid and was accompanied by a list of Italian painters who appeared on the scene after Vasari and the first comprehensive list of biographies of painters from the Low Countries 1 Similarly Joachim von Sandrart author of Deutsche Akademie 1675 became known as the German Vasari and Antonio Palomino author of An account of the lives and works of the most eminent Spanish painters sculptors and architects 1724 became the Spanish Vasari 9 In England Aglionby s Painting Illustrated from 1685 was largely based on Vasari as well 1 In Florence the biographies of artists were revised and implemented in the late 17th century by Filippo Baldinucci View of the Renaissance edit The Vite is also important as the basis for discussions about the development of style 10 It influenced the view art historians had of the Early Renaissance for a long time placing too much emphasis on the achievements of Florentine and Roman artists while ignoring those of the rest of Italy and certainly the artists from the rest of Europe 11 Source of information edit For centuries it has been the most important source of information on Early Renaissance Italian and especially Tuscan painters and the attribution of their paintings In 1899 John Addington Symonds used the Vite as one of his basic sources for the description of artists in his seven books on the Renaissance in Italy 12 and nowadays it is still despite its obvious biases and shortcomings the basis for the biographies of many artists like Leonardo da Vinci 13 Contents of the 1568 edition editThe Vite contains the biographies of many important Italian artists and is also adopted as a sort of classical reference guide for their names which are sometimes used in different ways What follows is the complete list of artists appearing the second 1568 edition In a few cases different very short biographies were given in one section Volumes and parts edit The 1568 edition was published in three volumes Vasari divided the biographies into three parts Parts I and II are contained in the first volume Part III is presented in the two other volumes nbsp Vol 1 parts I and II nbsp Vol 1 parts I and II title page variant nbsp Vol 2 first volume of part III nbsp Vol 3 second volume of part III This article may require cleanup to meet Wikipedia s quality standards The specific problem is Main names names mentioned in the original headings multiple entries appear twice Wrong order also in other cases Checking is difficult but possible Secondary names names not mentioned in the original headings given below after the word with possibly more errors Checking is extremely difficult since no source is provided that lists those secondary names in the same way as below Please help improve this article if you can October 2021 Learn how and when to remove this message Volume 1 edit The first volume starts with a renewed dedication to Cosimo I de Medici 14 followed by an additional one to Pope Pius V 15 The volume contains an index of names and objects mentioned 16 and subsequently a list of illustrations and finally an index of places and their buildings also with references to the passages where they are mentioned in the text 17 All these indexes are features that facilitate using the book and are still a model for today s art historical publications Hereafter an almost 40 pages long lettera by Florentine historian Giovanni Battista Adriani to Vasari on the history of art is printed 18 The principal part of the volume begins with a preface 19 followed by an introduction into the background the materials and techniques of architecture sculpture and painting 20 21 A second preface follows 22 introducing the actual Vite Biographies first part Cimabue 23 Arnolfo di Lapo with Bonanno Nicola and Giovanni Pisano Andrea Tafi Gaddo Gaddi Margaritone Giotto with Puccio Capanna Agostino and Agnolo Stefano and Ugolino Pietro Lorenzetti Pietro Laurati Andrea Pisano Buonamico Buffalmacco Ambrogio Lorenzetti Ambruogio Laurati Pietro Cavallini Simone Martini with Lippo Memmi Taddeo Gaddi Andrea Orcagna Andrea di Cione Tommaso Fiorentino Giottino Giovanni da Ponte Agnolo Gaddi with Cennino Cennini Berna Sanese Barna da Siena Duccio Antonio Viniziano Antonio Veneziano Jacopo di Casentino Spinello Aretino Gherardo Starnina Lippo Lorenzo Monaco Taddeo Bartoli Lorenzo di Bicci with Bicci di Lorenzo and Neri di Bicci Biographies second part Jacopo della Quercia Niccolo Aretino Niccolo di Piero Lamberti Dello Dello di Niccolo Delli Nanni di Banco Luca della Robbia with Andrea and Girolamo della Robbia Paolo Uccello Lorenzo Ghiberti with Niccolo di Piero Lamberti Masolino da Panicale Parri Spinelli Masaccio Filippo Brunelleschi Donatello Michelozzo Michelozzi with Pagno di Lapo Portigiani Antonio Filarete and Simone Simone Ghini Giuliano da Maiano Piero della Francesca Fra Angelico with Domenico di Michelino and Attavante Leon Battista Alberti Lazaro Vasari Antonello da Messina Alesso Baldovinetti Vellano da Padova Bartolomeo Bellano Fra Filippo Lippi with Fra Diamante and Jacopo del Sellaio Paolo Romano Mino del Reame Chimenti Camicia and Baccio Pontelli Andrea del Castagno and Domenico Veneziano Gentile da Fabriano Vittore Pisanello Pesello and Francesco Pesellino Benozzo Gozzoli with Melozzo da Forli Francesco di Giorgio and Vecchietta Lorenzo di Pietro Galasso Ferrarese with Cosme Tura Antonio and Bernardo Rossellino Desiderio da Settignano Mino da Fiesole Lorenzo Costa with Ludovico Mazzolino Ercole Ferrarese Jacopo Giovanni and Gentile Bellini with Niccolo Rondinelli and Benedetto Coda Cosimo Rosselli Il Cecca Francesco d Angelo Don Bartolomeo Abbate di S Clemente Bartolomeo della Gatta with Matteo Lappoli Gherardo di Giovanni del Fora Domenico Ghirlandaio with Benedetto David Ghirlandaio and Bastiano Mainardi Antonio del Pollaiuolo and Piero del Pollaiuolo with Maso Finiguerra Sandro Botticelli Benedetto da Maiano Andrea del Verrocchio with Benedetto and Santi Buglioni Andrea Mantegna Filippino Lippi Bernardino Pinturicchio with Niccolo Alunno and Gerino da Pistoia Francesco Francia with Caradosso Pietro Perugino with Rocco Zoppo Francesco Bacchiacca Eusebio da San Giorgio and Andrea Aloigi l Ingegno Vittore Scarpaccia with Stefano da Verona Jacopo Avanzi Altichiero Jacobello del Fiore Guariento di Arpo Giusto de Menabuoi Vincenzo Foppa Vincenzo Catena Cima da Conegliano Marco Basaiti Bartolomeo Vivarini Giovanni di Niccolo Mansueti Vittore Belliniano Bartolomeo Montagna Benedetto Rusconi Giovanni Buonconsiglio Simone Bianco Tullio Lombardo Vincenzo Civerchio Girolamo Romani Alessandro Bonvicino il Moretto Francesco Bonsignori Giovanni Francesco Caroto and Francesco Torbido il Moro Iacopo detto l Indaco Jacopo Torni Luca Signorelli with Tommaso Bernabei il Papacello Volume 2 edit Biographies third part Leonardo da Vinci Giorgione da Castelfranco Antonio da Correggio Piero di Cosimo Donato Bramante Bramante da Urbino Fra Bartolomeo Di San Marco Mariotto Albertinelli Raffaellino del Garbo Pietro Torrigiano Torrigiano Giuliano da Sangallo Antonio da Sangallo Raphael Guillaume de Marcillat Simone del Pollaiolo il Cronaca Davide Ghirlandaio and Benedetto Ghirlandaio Domenico Puligo Andrea da Fiesole Vincenzo da San Gimignano and Timoteo da Urbino Andrea Sansovino Andrea dal Monte Sansovino Benedetto da Rovezzano Baccio da Montelupo and Raffaello da Montelupo father and son Lorenzo di Credi Boccaccio Boccaccino Boccaccino Cremonese Lorenzetto Baldassare Peruzzi Pellegrino da Modena Pellegrino Aretusi Giovan Francesco also known as il Fattore Andrea del Sarto Properzia de Rossi with suor Plautilla Nelli Lucrezia Quistelli and Sofonisba Anguissola the only women to feature in the Lives Alfonso Lombardi Michele Agnolo Giovanni Angelo Montorsoli Girolamo Santacroce Dosso Dossi and Battista Dossi Dossi brothers Giovanni Antonio Licino Rosso Fiorentino Giovanni Antonio Sogliani Girolamo da Treviso Girolamo Da Trevigi Polidoro da Caravaggio and Maturino da Firenze Maturino Fiorentino Bartolommeo Ramenghi Bartolomeo Da Bagnacavallo Marco Calabrese Morto Da Feltro Franciabigio Francesco Mazzola Il Parmigianino Jacopo Palma Il Palma Lorenzo Lotto Fra Giocondo Francesco Granacci Baccio d Agnolo Valerio Vicentino Valerio Belli Giovanni da Castel Bolognese Giovanni Bernardi and Matteo dal Nasaro Veronese Marcantonio Bolognese Antonio da Sangallo Giulio Romano Sebastiano del Piombo Sebastiano Viniziano Perino Del Vaga Volume 3 edit Biographies third part continued Domenico Beccafumi Giovann Antonio Lappoli Niccolo Soggi Niccolo detto il Tribolo Pierino da Vinci Baccio Bandinelli Giuliano Bugiardini Cristofano Gherardi Jacopo da Pontormo Simone Mosca Girolamo Genga Bartolommeo Genga and Giovanbatista San Marino Giovanni Battista Belluzzi Michele Sanmicheli with Paolo Veronese Paulino and Paolo Farinati Giovannantonio detto il Soddoma da Verzelli Bastiano detto Aristotile da San Gallo Benedetto Garofalo and Girolamo da Carpi with Bramantino and Bernardino Gatti il Soiaro Ridolfo Ghirlandaio Davide Ghirlandaio and Benedetto Ghirlandaio Giovanni da Udine Battista Franco with Jacopo Tintoretto and Andrea Schiavone Francesco Rustichi Fra Giovann Agnolo Montorsoli Francesco detto de Salviati with Giuseppe Porta Daniello Ricciarelli da Volterra Taddeo Zucchero with Federico Zuccari Michelangelo Buonarroti Michelangelo with Tiberio Calcagni and Marcello Venusti Francesco Primaticcio with Giovanni Battista Ramenghi il Bagnacavallo Jr Prospero Fontana Niccolo dell Abbate Domenico del Barbieri Lorenzo Sabatini Pellegrino Tibaldi Luca Longhi Livio Agresti Marco Marchetti Giovanni Boscoli and Bartolomeo Passarotti Tiziano da Cadore Titian with Jacopo Bassano Giovanni Maria Verdizotti Jan van Calcar Giovanni fiammingo and Paris Bordon Jacopo Sansovino with Andrea Palladio Alessandro Vittoria Bartolomeo Ammannati and Danese Cattaneo Lione Aretino Leone Leoni with Guglielmo Della Porta and Galeazzo Alessi Giulio Clovio manuscript illuminator Various Italian artists Girolamo Siciolante da Sermoneta Marcello Venusti Iacopino del Conte Dono Doni Cesare Nebbia and Niccolo Circignani detto il Pomarancio Bronzino Giorgio VasariEditions edit nbsp Eliza Foster s 1850 51 translation of Vasari s Lives There have been numerous editions and translations of the Lives over the years Many have been abridgements due to the great length of the original The first English language translation by Eliza Foster as Mrs Jonathan Foster was published by Henry George Bohn in 1850 51 with careful and abundant annotations According to professor Patricia Rubin of New York University her translation of Vasari brought the Lives to a wide English language readership for the first time Its very real value in doing so is proven by the fact that it remained in print and in demand through the nineteenth century 24 The most recent new English translation is by Peter and Julia Conaway Bondanella published in the Oxford World s Classics series in 1991 25 Versions online editItalian 1550 edition Progetto Manuzio PDF 1550 edition Selections drawn from a 1768 reprint 1568 edition Vol 1 in the Internet Archive biographies from Cimabue to Signorelli 1568 edition Vol 2 in the Internet Archive biographies from Leonardo to Perino del Vaga 1568 edition Vol 3 in the Internet Archive biographies from Beccafumi to Vasari English Giorgio Vasari s Lives of the Artists Website created by Adrienne DeAngelis Currently incomplete intended to be unabridged Stories Of The Italian Artists From Vasari Translated by E L Seeley 1908 abridgedSee also editEgg of Columbus Lives contains a similar story to the Columbus egg story References edit a b c d Max Marmor Kunstliteratur translated by Ernst Gombrich in Art Documentation Vol 11 1 1992 University of Leeds website Webprod1 leeds ac uk Retrieved 5 February 2014 Murray P and L Murray 1963 The art of the renaissance London Thames amp Hudson World of Art p 8 ISBN 978 0 500 20008 7 Salmi Mario Becherucci Luisa Marabottini Alessandro Tempesti Anna Forlani Marchini Giuseppe Becatti Giovanni Castagnoli Ferdinando Golzio Vincenzo 1969 The Complete Work of Raphael New York Reynal and Co William Morrow and Company p 607 Christopher Witcombe Art History and Technology Witcombe sbc edu Retrieved 5 February 2014 Takuma Ito Studies of Western Art No 12 July 2007 Sangensha co jp Retrieved 5 February 2014 John Addington Symonds Renaissance in Italy 1899 Vol 3 Part 2 Fullbooks com Retrieved 5 February 2014 Professor Hope The Warburg Institute course synopsis 2007 Archived 27 September 2007 at the Wayback Machine Meurer Susanne 2006 In Verlegung des Autoris Joachim von Sandrart and the Seventeenth Century Book Market The Library The Transactions of the Bibliographical Society 7 4 419 449 Project MUSE 209221 Elinor Richter reviewing Philip Sohms study of style in the art theory Archived 5 July 2007 at the Wayback Machine Giorgio Vasari s Vite the first edition of which was published in 1550 provides the foundation for any discussion of the development of style Leone Stephanie C 2007 Emilia e Marche nel Rinascimento L Identita Visiva della Periferia review Renaissance Quarterly 60 1 171 172 doi 10 1353 ren 2007 0077 S2CID 191928900 Project MUSE 212663 the traditional definition of Renaissance art as the humanistic innovations of Florentine and Roman artists to which Giorgio Vasari s Vite 1550 1568 gave rise Full text of John Symonds Renaissance in Italy 13 March 2004 Retrieved 5 February 2014 via Project Gutenberg Bernard Barryte The life of Leonardo da Vinci University of Rochester Library Bulletin 1984 Lib rochester edu Retrieved 5 February 2014 Allo illvstris ecc Signor Cosimo Medici Dvca di Fiorenza Siena pages 5 9 in the digitised original 1568 edition on Archive org The original dedication from 1550 is reprinted here again on pp 10 13 All the following links from this source are in full screen Pius Papa Quintus p 14 Indice copioso delle Cose piv notabili Della prima amp seconda parte ciore del Primo Volume pp 20 37 The preceding page shows a self portrait of Vasari under the Medici coat of arms and above a miniature veduta of Florence Tavola de Lvoghi dove sono l Opere descritte Nella prima amp seconda parte pp 43 58 Lettera di M Giovambatista di M Marcello Adriani a M Giorgio Vasari pp 60 99 Proemio di tutta l Opera pp 1 00 8 Introduzzione alle tre Arte del Disegno cioe Architettura Pittura amp Scoltura pp 10 65 Vasari Giorgio 1907 Vasari on technique being the introduction to the three arts of design architecture sculpture and painting prefixed to the Lives of the most excellent painters sculptors and architects G Baldwin Brown Ed Louisa S Maclehose Trans London Dent Proemio delle Vite pp 10 81 Le Vite begin with p 82 All following biographies in the digitised 1568 edition can be found through the search function or the indices at the beginning of the book see also above Patricia Rubin Eliza Foster dates unknown Interdisciplinary Studies in the Long Nineteenth Century 2019 28 doi https doi org 10 16995 ntn 864 Vasari G The Lives of the Artists Translated with an introduction and notes by J C and Peter Bondanella Oxford Oxford University Press Oxford World s Classics 1991 ISBN 9780199537198Sources edit nbsp This article incorporates text from a publication now in the public domain Chisholm Hugh ed 1911 Vasari Giorgio Encyclopaedia Britannica Vol 27 11th ed Cambridge University Press pp 925 926 External links edit nbsp Media related to Vasari Le vite de piu eccellenti pittori scultori et architettori at Wikimedia Commons nbsp Italian Wikisource has original text related to this article Le vite de piu eccellenti pittori scultori e architettori 1568 Free English translation of the work divided into ten ebooks at Project Gutenberg Original Italian version from 1568 on archive org Petri Liukkonen Giorgio Vasari Books and Writers Excerpts from the Vite combined with photos of works mentioned by Vasari Gli artisti principali citati dal Vasari nelle Vite elenco nbsp Lives of the Most Eminent Painters Sculptors and Architects public domain audiobook at LibriVox Retrieved from https en wikipedia org w index php title Lives of the Most Excellent Painters Sculptors and Architects amp oldid 1222468172, wikipedia, wiki, book, books, library,

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