Download e-book for kindle: Giorgio Vasari's Teachers: Sacred and Profane Art by Liana De Girolami Cheney


By Liana De Girolami Cheney

This booklet examines the creative, cultural, and historic effect of Giorgio Vasari’s lecturers, mentors, and buyers on his sacred and profane work. As a Maniera artist, Vasari learns to appreciate and assimilate the paintings of the traditional masters. With the counsel of Dante’s literary writings and Marsilio Ficino’s Neoplatonic philosophy, Vasari unearths an ethical and didactic imaginative and prescient in his paintings. also, Vasari’s inventive patronage is prompted by means of the political beliefs of Niccolò Machiavelli. within the integration of either old artwork and myths with the didactic legacy of biblical figures and ethical personifications, Vasari manifests his creative idea and symbolism in his sacred and profane work.

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12 For example, in a less hallucinatory manner, Luca Signorelli’s Last Judgment for the Orvieto Cathedral of 1504,13 and a more dramatic and complex revelation, Michelangelo’s Last Judgment in the Sistine Chapel of 1543,14 both allude to Dante’s entrance to Hell. In both frescoes, Charon ferries the damned across the river Acheron to be judged on the other shore by Minos. In Michelangelo’s image, Charon whacks the sinners with his oar just as Dante describes, while Minos, in both Signorelli’s and Michelangelo’s works, winds his tail around his body to designate the given sinner’s place in Hell, again according to Dante’s description.

The numerous images of Andromeda project an appeal to the senses, an interpretation of subjects together with an exploration of beauty. Andromeda embodies the essence of purity as well as of temptress. This ambiguity of character alludes to both Greek legend and biblical tradition alike, which represent woman as the first cause of evil and death. ” Thus, female’s moral inferiority represents the state of nature. qxd 18 1/16/2007 12:33 PM Page 18 INTRODUCTION mythology in the early centuries of the Christian era.

In late 1576, Francesco I entrusts the project to Federico Zuccaro, an assistant to Vasari. 39 Ten years later, this experience would prove invaluable for Zuccaro, when he was commissioned to illustrate Dante’s Divine Comedy. 40 This is a different reception from the one created by Vasari and experienced by the Florentines in the previous unveilings of Marcovaldo’s mosaics in Florence and Michelangelo’s Last Judgment in Rome. In composing the program for the decoration of the Florentine dome, Vasari and Borghini are both familiar with the historical event of the unveiling of the cupola of the Florentine Baptistery in 1300 (Figs.

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