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Giorgio Vasari
Giorgio
 Vasari
Italia 1511−1574
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Biography and information
 

Italian painter, architect and author of the epoch of mannerism who was born in Arezzo, 30 July 1511. About 1524 went to Florence, where he worked in the workshops of Andrea del Sarto and Michelangelo. After a trip to Rome Vasari returned to Florence in the service of the Medici Dukes. In 1562 he founded the Academy of figure. Its main building of the ensemble of the Uffizi in Florence (1560−1585). Vasari is the author of the frescoes in the Palazzo Vecchio in Florence (1555) and the Hall of the Royal Palace in the Vatican (1571−1573). Died Vasari in Florence on June 27, 1574.

Father Vasari, Antonio, worked Gonchar. The whole life of the author of the "Life history" was presented as "Giorgio Vasari of Arezzo". The first teacher Vasari, when he was twelve years old, was a French artist Guillaume de Marcilla, painted glass Windows of the Church in Arezzo. In 1524 he lived in Florence, he was a student of Andrea del Sarto, Michelangelo and bachcho Bandinelli. Young Vasari patronized Alexander and Ippolito de ' Medici, who soon had to leave Florence. Vasari returned in Arezzo, where he received several orders and even wrote frescoes.

The known sculptor, painter and architect Rosso, while in Arezzo, gave some advice to the young Vasari. In gratitude Vasari later he described the life and work of his mentor in his work. Vasari completed the picture by pictures of Rosso. Vasari in these years was in need of money. His father died, and he took care of his three sisters and two brothers. Some time Vasari studied gold and silver craft, which at that time was considered art.

Florence, where it is already several months did it, was under the siege in 1529, what made Vasari to move to Pisa, and there he again began painting; at that time he was only 17 years old. Then began a series of his travels in Italy and job search; however, he happily met with one of the first of its patrons, Ippolito de ' Medici, who took it with him to Rome, where Vasari was tirelessly and diligently to work, and soon received his patron order to paint a picture "Venus and Grace".

When Charles V (1531) have restored the power of the Medici in Florence, Vasari returned to the Duke Alexander, a great admirer of art. In the Palace of the Duke Vasari wrote a few paintings and a portrait of Alexander, and taught architecture and decor. One of the first cases to show his talent was presented to him during the solemn entry of Charles V in Rome (1536), when I had to write different decorative buildings. At this time Vasari wrote to the monastery of St. Clare in Arezzo picture "the Annunciation". In the Louvre is the picture Vasari with the same plot (La salutation angelique), perhaps this is the "Annunciation" of Arezzo.

In 1537 Alexander Medici was killed, and Vasari was again left without a patron. Despite his youth, Vasari had already gained the popularity and began to receive invitations. After many trips he in 1540 worked in Bologna on the painting "the Meal of St. Gregory". On the subject and performance it is considered one of the best. This picture and is now in Bologna. All persons of this film portraits of contemporaries Vasari, their names are mentioned in his book.

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On October 17, 1493, Florentine Baccio Bandinelli was born - a sculptor and painter, blessed by Leonardo da Vinci himself, who worked for the Medici and European monarchs, who competed with Michelangelo and Cellini, but who could not surpass them. On a self-portrait (the only painting work that has come down to us), Baccio painted himself with a sketch
A study is an exercise painting that helps the painter better understand the object he or she paints. It is simple and clear, like sample letters in a school student’s copybook. Rough and ready, not detailed, with every stroke being to the point, a study is a proven method of touching the world and making a catalogue of it. However, in art history, the status of the study is vague and open to interpretation. Despite its auxiliary role, a study is sometimes viewed as something far more significant than the finished piece. Then, within an impressive frame, it is placed on a museum wall.
So, when does a study remain a mere drill, and when can we call it an artwork in its own right, full of life and having artistic value? Read more
of his iconic sculpture “Hercules Killing Kakusa”. It was erected in Florence on the Piazza della Signoria opposite Michelangelo David, and, according to the author, simply had to overshadow David - which, of course, did not happen.

But what Baccio Bandinelli exactly surpassed Michelangelo in - so it is in the hostility and complexity of character (although it is not easy to believe, knowing the character of Michelangelo). Giorgio Vasari is convinced that it is Baccio’s sinister character that is to blame for the fact that the talented sculptor did not receive due recognition:

“Returning to Baccio, we say that his abilities have always been recognized during his lifetime, but that recognizing them and regretting them will be much more after his death. And in life he would have been recognized to an even greater degree and would have been more loved if by the grace of nature he was more pleasant and kind. But he, on the contrary, was very rude to the language, which deprived him of someone else’s disposition and eclipsed his talents and was the reason that people maliciously and askew also looked at his works, which therefore never liked. And although he served various masters and, thanks to his talents, knew how to serve them, he rendered services so awkwardly that he did not receive real thanks for them. And the fact that he spoke ill of everyone and condemned the work of others constantly caused everyone to hate him, and if someone gave him the change, he answered twice, and in office areas he said rudeness without respect for his fellow citizens. same thing from them. He constantly quarreled and squabbled for any reason; he spent all his life in quarrels, and it seemed that it was satisfying to him. But since his drawing, which occupied him, as it can be seen, more than anything else, is so good that it surpasses all its natural flaws and gives the right to recognize him as a rare person in this art, we not only call him among the largest, but always respected his works and tried not to spoil them, but to finish and glorify them, for they truly believe that Baccio belongs to those who deserve respectful approval and eternal glory. ”
This text was originally published in Russian and automatically translated to English.
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How a broken tooth opened for Michelangelo Lorenzo the Magnificent’s house; why the sculptor refused to make his David ’s nose even a millimetre smaller, and who disfigured his own profile; how a drawing of a kid’s hand nailed Michelangelo as a faker; why the master claimed to have sucked his love for stone in with breast milk; why he considered a flap of flayed skin to be his only true-to-life…
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Artworks by the artist
total 31 artworks
Giorgio Vasari. Portrait Of Lorenzo De Medici The Magnificent
3
Portrait Of Lorenzo De Medici The Magnificent
1530-th , 72×90 cm
Giorgio Vasari. The descent from the cross
5
The descent from the cross
1540, 210×311 cm
Giorgio Vasari. The Temptation Of St. Jerome
1
The Temptation Of St. Jerome
1541, 123×169 cm
Giorgio Vasari. The Triumph Of Bacchus
2
The Triumph Of Bacchus
1560-th , 137×171 cm
Giorgio Vasari. Madonna and child with John the Baptist (16th century copy of the original Vasari)
2
Madonna and child with John the Baptist (16th century copy of the original Vasari)
XVI century, 72.5×97 cm
Giorgio Vasari. Perseus and Andromeda, fragment, coral, born from the blood of Medusa
2
Perseus and Andromeda, fragment, coral, born from the blood of Medusa
1570
Giorgio Vasari. The Prophet Elisha
0
The Prophet Elisha
1566, 29×40 cm
Giorgio Vasari. The Annunciation
2
The Annunciation
1574, 166×216 cm
Giorgio Vasari. Self-portrait
0
Self-portrait
1567, 101×80 cm
View 31 artworks by the artist