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Dedicated to Grand Duke Cosimo I de' Medici, it was first published in 1550. Wherever one stands, it is sensible to judge his history accordingly with the knowledge that immediacy does not always guarantee objectivity or accuracy when dealing with people's lives, especially such geniuses like these. He does provide some fascinating insights into how these artists worked, their techniques and methods.
It is now available in many editions, some like the Penguin small without too many illustrations, other larger editions contain the 1568 woodcuts.
No matter which stance one adopts, it is certainly true that he provides what no other could, an artist writing on other contemporary artists at this unique period in history and, for that reason, it is invaluable, despite its inaccuracies.
A few of the chapter headings indicate the scope: Ciambue, Giotto, Uccello, Ghiberti, Masacchio, Brunelleschi,
Donatello, Piero della Francesco, Far Angelico, Alberti, Fra Filippo Lippi. All these written about by someone who knew them and conversed with them.
However, for the modern reader, this work can prove a chore. Gaston de Vere appears to have provided a very precise translation of the 2nd edition (1568) of this work and whilst this authenticity in translation is to be encouraged, it does not assist with what can otherwise be a very dry and difficult read. Vasari has also been severally criticised for embellishing upon and evening disregarding the truth, whilst writing the 'Lives'.
These criticisms are in part justified. However, they must also be made in context. One must remember that Vasari was himself hampered in this work, being plagued by the uncertainty and deficiency of the records of the individuals and works involved, as is perhaps best illustrated by his desire to create a second edition of his work, thirteen years after the first edition. In addition, any dryness might be forgiven when considering the subject matter, the style of writing popular of that period and given Vasari's attempts to record and often describe those known works by his subjects. Incidentally, I found the 'Lives' much more interesting and rewarding when I had the opportunity to view many of these works myself in Florence and to visit Vasari's house in Arezzo.
I would concede that the 'Lives' is certainly not for the light-hearted. However, given Vasari's influential and active position within the Medici court during what is arguably the high point of the Renaissance, the 'Lives' reflects a contemporary record, and Vasari's own view, of the origins and development of Florentine and Italian art.
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