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Book Description
Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art.

Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, dominated by the titanic figures of Leonardo, Raphael, and Michelangelo.

This specially commissioned translation contains thirty-six of the most important lives as well as an introduction and explanatory notes.

Synopsis
Packed with facts, attributions, and entertaining anecdotes about his contemporaries, Vasari's collection of biographical accounts also presents a highly influential theory of the development of Renaissance art. Beginning with Cimabue and Giotto, who represent the infancy of art, Vasari considers the period of youthful vigour, shaped by Donatello, Brunelleschi, Ghiberti, and Masaccio, before discussing the mature period of perfection, dominated by the titanic figures of Leonardo, Raphael, and Michelangelo. This specially commissioned translation contains thirty-six of the most important lives as well as an introduction and explanatory notes.

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First Sentence
I know it is an opinion commonly accepted among almost all writers that sculpture, as well as painting, was first discovered in nature by the peoples of Egypt; and that some others attribute to the Chaldeans the first rough carvings in marble and the first figures in relief; just as still others assign to the Greeks the invention of the brush and the use of colour. Read the first page Browse Sample Pages
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover

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Vasari's Lives of the Artists by Georgio Vasari £7.19

On Painting (Classics) by Leon Battista Alberti  (3)  £5.99

Art in Renaissance Italy, 1350-1500 (Oxford History of Art) by Evelyn S. Welch  (1)  £7.79

Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style (Oxford Paperbacks) by Michael Baxandall  (8)  £6.74

Giotto to Durer: Early Renaissance Painting in The National Gallery: Early European Painting in the National Gallery (National Gallery of London) by J Dunkerton  (3)  £23.75

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2 Reviews 5 star:    (0) 4 star:  (1) 3 star:    (0) 2 star:  (1) 1 star:    (0)           Average Customer Review (2 customer reviews)		Share your thoughts with other customers:
Most Helpful Customer Reviews   36 of 38 people found the following review helpful: For A level and later on an invaluable book, 27 April 2002 By A Customer This book will appeal to either the history of art student or someone interested in Renaissance writings. A very useful book in that it offers a chance to see what a Mannerist artist thought about his contemporaries. It provides information on the fashions of the time and even insights into the very character of the artist, including some highly amusing stories and occasionally very biased points of view! If you can put a quote in an essay or exam then you will definately stand out as a good candidate.  Comment | Permalink | Was this review helpful to you? (Report this)   14 of 50 people found the following review helpful: The One-Eyed King May 19, 2003, 11 Jun 2003 By  Captain Cook (Somewhere off Terra Del Fuego) - See all my reviews 'In the land of the blind the one-eyed man is king.' This is badly-written, badly-structured, gossipy, confused, misleading, and in too many places downright dishonest. Nevertheless it remians our main source of biographical information on the great artists of the Renaissance and Mannerist periods. Most of these geniuses were considered so unimportant in their own lifetimes that the details of their lives weren't thought worthy to be recorded. It is telling therefore that it was Vasari, himself a rather vainglorious and self-important artist, who first conceived the notion of setting down the minutae of his own class. Unfortunately he was more a man of the brush than the pen and used his biographical duties to settle a few old scores and to pass on rumor and gossip. Of course, the very ineptitude with which this work is written