Giorgio di Antonio Vasari, “Born in 1511… in the town of Arezzo”(New York Times) was a successful Renaissance Man. He was a painter, architect, and famously known as the first biographical, art -historian. His book “The Lives of the Artists” – a “monumental encyclopedia” (BBC) about all the great artists of the Renaissance has had a profound impact on what we know about artists from that time today, and art history as a whole.
Giorgio Vasari, Self Portrait source: theartstory.org
Giorgio Vasari was a powerful and transformative storyteller, at times he bordered on methodical fabrications and amplified his stories, but nonetheless his books are highly influential chronicles of more than 200 Italian artists in his time, and perhaps they are first appearance of what we know as the subject of art history. Some of his most central subjects being Leonardo, Raphael and his good friend Michelangelo of the “Golden Age”. Vasari believed the artists that came before him, had surpassed the successes of Antiquity and he regarded them as his quintessential heroes. Vasari was deeply influenced by these painters but because he has been such an integral narrator to art histories successes (regardless of his fabrications), his life as a painter can easily be overlooked.
Portrait of Lorenzo de Medici, known as Magnificent (Florence, 1449-1492), ruler of Florence, painting by Giorgio Vasari (1511-1574), 1534, oil on canvas, 90×72 cm. Source: In Bridgeman Images (Ed.), Bridgeman images. Bridgeman.
Vasari was one of art history’s most important characters; he was a sublime painter mastering in Frescos throughout the Mannerist period but also an avid businessman who prioritized the economy of painting. Vasari is said to be the pioneer of studio production, typically relying on a team to accomplish what he did in his lifetime. He was a compulsive overachiever who gained notable peers such as Michelangelo, Titian and Giorgione as well as a significant following. Vasari was more of a businessman than his predecessors, motivated significantly by fortune and fame and was highly sought after with commissions from patrons like the Medici throughout his lifetime.
Cosimo I leaving for exile, fresco by Giorgio Vasari (1511-1574) Cosimo I leaving for exile, fresco by Giorgio Vasari (1511-1574). Salone dei Cinquecento (Hall of the Five Hundred), Palazzo Vecchio, Florence. Italy, 15th century, Palazzo Vecchio, Florence. Italy, 15th century; Source: De Agostini Picture Library; out of copyright
Vasari rose to his fame through working with the prolific Medici family, specifically through the commissions of Cosimo. He quickly gained became an important member of Italy’s elite and is famous for attributing this moment in to to the “rebirth” of “rinascita”. But perhaps the most important thing to understand about Vasari is his contributions to his era. Besides his renowned biographies that provided him much fame and financial success. Vasari was an inspiration to his pupils and even founded a design and art centre alongside Michelangelo. He was a meticulous art collector who collected a profound amount of valuable art and a well known architect, developing mannerist churches across Tuscany and Florence.
DGA754831 Frescoes by Giorgio Vasari (1511-1574), Room of Elements, Palazzo Vecchio, Florence, Italy, 16th century; (add.info.: Frescoes by Giorgio Vasari (1511-1574), Room of the Elements, Palazzo Vecchio, Florence. Italy, 16th century.); De Agostini Picture Library / G. Nimatallah; out of copyright source: Bridgeman Images: DeAgostini LibraryDGA754667 Ceiling detail, Studiolo of Francesco I, by Giorgio Vasari (1511-1574). Palazzo Vecchio, Florence. Italy, 16th century.; (add.info.: Ceiling detail, Studiolo of Francesco I, by Giorgio Vasari (1511-1574). Palazzo Vecchio, Florence. Italy, 16th century.); De Agostini Picture Library / G. Nimatallah; out of copyright
Vasari’s most famous artwork is without a doubt featured in the “Room of Elements”, Palazzo Vecchio, Florence, Italy, 16th century; a series of his most well known frescos, featured alongside the works of his heroes, Da Vinci and Michelangelo’s (unfinished) work “The Battle of Anghiari” and “The Battle of Cascina” in the “Il Salone dei Cinquecento (Hall of the Five Hundred)” in the The Palazzo Vecchio (The Art Story).
Sources:
“Vasari, Giorgio (1511 – 1574).” The Encyclopaedia of the Renaissance, edited by Thomas Goddard Bergin, and Jennifer Speake, Market House Books Ltd, 1st edition, 1987. Credo Reference
“Cosimo I leaving for exile, fresco by Giorgio Vasari (1511-1574). Salone dei Cinquecento (Hall of the Five Hundred), Palazzo Vecchio, Florence. Italy, 15th century.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference,
“Frescoes by Giorgio Vasari (1511-1574), Room of Elements, Palazzo Vecchio, Florence, Italy, 16th century.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference,
“Ceiling detail, Studiolo of Francesco I, by Giorgio Vasari (1511-1574). Palazzo Vecchio, Florence. Italy, 16th century.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference,
This project is an observational drawing of an interior space in one’s home. The purpose of this project is to exercise Filippo Brunelleschi’s principles of linear perspective. By choosing an interesting angle and area, we are able to show that linear perspective can produce a realistic representation of 3 dimensional space.
A two-point linear perspective life drawing, of my kitchen. a photographic reference of my kitchen, for comparison.
An introduction to the Palaeolithic art and tools.
“Decorated Caves” or cave art was a global phenomenon that went on throughout the Stone Age specifically in the Palaeolithic Period; the Lower Palaeolithic (to 40,000 BC) and the Upper Palaeolithic (40,000–8000 BC) (Singh, Hermant). For a long time it was thought that Europe was the initial birthplace of prehistoric cave paintings. Paintings of mammoth, bisons and reindeer were first discovered in the 19th century in the caves of Northern Spain Altamira, and Southern France Lascaux, with “lifelike representations of animals” (E.H Gombrich, 39). but the oldest form of Palaeolithic art that has been discovered is in Indonesia in the “Lubang Jeriji Saléh” cave circa 40,000 BC.
Initially in early cave art we see neanderthals spraying pigment around their hands and shapes creating a sort of stencil outline. Cave art today has been discovered on every continent in the world with the exception of Antarctica.
image Gua Tewet “Tree of Life” early cave art.
cave art in Lascaux caves in Northern Fr
It has been observed by researchers that common tools throughout this period were made out of bone, stone and wood. Later developing in to more complex weapons such a spears and flints. In fact the Palaeolithic period is characterized by the creation, progression and use of these tools.
Throughout this period materials for art that could flake easily were intentionally sought after and applied with wood, hands, or animal fur. Pigments such as ochre, a clay yellowish pigment, chalk or charcoal were mixed in mouths, blended with fats and applied to the walls. Neanderthals would sometimes, they would go to great lengths and travel long distances to acquire materials such as Manganese, that could only be acquired in the Pyrenees Mountains.
The purpose of cave paintings is unknown and wildly debated throughout history with no real consensus. Perhaps it will always remain a mystery, but there are some prominent theories surrounding the infamous cave art. Through observations of current subsistent communities it has been hypothesized that the art was somewhat of a spiritual visualization and setting intention, to attract and capture the prey that they were visually rendering. Others believe it was strictly a ritualistic, spiritual or religious approach. Perhaps the most simplistic of ideas is that there was no reason at all, this was purely arbitrary and done because they simply wanted to do it.
One of the most perplexing facts about these murals to this day is the seemingly intentional placement of these petroglyphs in difficult places to reach. A lot of these paintings appear to be methodically placed in remote and high areas of these taverns. In fact some paintings are so high that some sort of engineered platform would have been needed to reach it. This coupled with the complicated and diverse mixing and usage of pigments really provides a strong argument against those who simply see this point in history as one of savagery and simplistic survival.
Citations:
Gombrich, E.H. The Story of Art Revised London, Phaidon 16th Edition, 1995
“Paleolithic art.” The Columbia Encyclopedia, Paul Lagasse, and Columbia University, Columbia University Press, 8th edition, 2018. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com.
This image represents the Gestalt Theory of closure, where we see the graphic break, our brains naturally see the continuity of the object. In this image we can clearly see the that these are socks on a person’s feet with the simple black lines using positive and negative space, contrast and colour. This image strongly represents the Gestalt Theory of continuation, the above use of movement strengthens the designers efforts to create movement and successfully guides the viewer to create a relationship between the two subjects
Presented is a 15 x 11″ handmade visual representation of myself, Che Zugazaga, for an imaginary yearbook spread. The style of this spread is meant to reflect my personality and guide you through my values and history in an interesting way, with both captivating visuals and descriptive, concise text. The purpose of this spread is an effort for all first year students of the IDEA program at Capilano to get to know one another on a broader spectrum.
If I were to give myself a mark on this project it would be B, as I wasnt able to find the size of paper that was requested in the brief (17 x 8.5) and I find the presentation to be a bit text heavy.
Presented is a reproduction of artist Albrecht Dürers (May 1471 – 6 April 1528) ”Betende Hande” transferred from an 8.5 x 11 printed copy to a larger 18 X 24 cartridge paper using an 1’ x 1’ to 2’ x 2’ square gridding system and a graphite pencil (the original drawing was done with pen and ink, on blue coloured paper). The focus of this project is to observe and reproduce shading and tonal values when drawing, to match the original artwork to the best of our ability. While observing Dürers Praying Hands closely and exporting it to a large scale drawing, one can really begin to understand and appreciate the value, the commitment and detail of this masterpiece.
Final Reproduction of Albrecht Dürers, ” Bertende Hande” under natural light
