The Lives of the Artists (Oxford World's Classics)

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Working for the Zoli modelling agency (available for “special bookings only”), Warhol sold his celebrity to various companies for product endorsements in television and print, giving a sense of inevitability to his early Pop appropriations of such banal products as Brillo scrubbing pads and Campbell’s soup. Whether he was modelling Levi’s blue jeans, advertising tdk videotapes, l.a.Eyeworks, or the ill-fated Drexel Burnham Lambert junk bond trading firm, or guest-starring on an episode of The Love Boat, these vulgar commercial activities were part of the logical culmination of Warhol’s trajectory. “Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist. After I did the thing called ‘art’ or whatever it’s called, I wanted to be an art businessman or a Business Artist.” The first English-language translation by Eliza Foster (as "Mrs. Jonathan Foster") was published by Henry George Bohn in 1850-51, with careful and abundant annotations. According to professor Patricia Rubin of New York University, "her translation of Vasari brought the Lives to a wide English-language readership for the first time. Its very real value in doing so is proven by the fact that it remained in print and in demand through the nineteenth century." [24] Giorgione becoming afflicted with the plague from his lover, and dying at 33. Similarly, Raphael’s lifelong love of mistress Margarita Luti, who he painted a couple of times, as well as his “great fondness for women” and practice of “always indulging his sexual appetites”; upon returning from one such session of excess with a violent fever, being bled to no avail, and dying tragically at 37. Art in Tuscany | Giorgio Vasari and Italian Renaissance painting | Podere Santa Pia, Holiday house in the south of Tuscany". www.travelingintuscany.com . Retrieved 1 October 2017.

Jeff Koons (born 1955) is one of the unmistakable icons of the 1980s – as much through his affiliation with the ‘commodity art’ scene that emerged out of New York’s East Village as through his continuation of Warhol’s legacy. Koons consciously took up where Warhol’s Business Art left off by espousing mass media and the market as the subject of his work while harnessing their strategies in the promotion of himself.

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Italian Wikisource has original text related to this article: Le vite de' più eccellenti pittori, scultori e architettori (1568) Vasari's Vite has been described as "by far the most influential single text for the history of Renaissance art" [8] and "the most important work of Renaissance biography of artists". [1] Its influence is situated mainly in three domains: as an example for contemporary and later biographers and art historians, as a defining factor in the view on the Renaissance and the role of Florence and Rome in it, and as a major source of information on the lives and works of early Renaissance artists from Italy. van Mander, Carel. 1969. Dutch and Flemish Painters, Carel van Mander. Translation and Introduction Constant van de Wall. 1936. Reprint, New York, N.Y.: Arno Press.

Media related to Vasari - Le vite de’ piu eccellenti pittori, scultori, et architettori at Wikimedia Commons Murray, P. and L. Murray. (1963) The art of the renaissance. London: Thames & Hudson (World of Art), p. 8. ISBN 978-0-500-20008-7 Antonio, as Vasari put it in a letter to a friend, was a deprived citizen and artisan but he married well and he was able to provide Vasari with his first schooling in Arezzo and some instruction in art from the French glass painter Guillaume de Marçillat who was working then in the Cathedral. The editors of this version wisely pared down the number of artists that Vasari actually wrote about, which he broke into three parts. The first covers Cimabue and Giotto, the two who began breaking from Byzantine forms to usher in the Renaissance, the second includes Ghiberti, Masaccio, Brunelleschi, Donatello, and Botticelli among others from the 14th and 15th centuries, and the third includes Leonardo da Vinci, Raphael, and Michelangelo. My mind boggles at that last magnificent threesome, and how they were all together in the same place at the same time, even if they didn’t get along together all that well.In Santa Croce, he produced the painting of The Adoration of the Magi commissioned by Pope Pius V in 1566 and completed in February 1567. It was restored recently, before being put on exhibition in 2011 in Rome and in Naples. Eventually, it will be returned to the church of Santa Croce in Bosco Marengo (Province of Alessandria, Piedmont). [ citation needed] Vasari, G. The Lives of the Artists. Translated with an introduction and notes by J.C. and Peter Bondanella. Oxford: Oxford University Press (Oxford World's Classics), 1991. ISBN 9780199537198 There’s no doubt of the historic importance of the book. It was the first history of art ever written, and though it only treated Italian art (and even there tended to favor somewhat chauvinistically Florentine artists), the Introduction Baudoin, Edmond. Interview by Tobias J. Yu-Kiener, interpretation by Laetitia Forst. November 15, 2017. Further, it outlines and analyses the influence of Pliny the Elder, Giorgio Vasari, Carel van Mander, and the nineteenth-century artist’s monograph on biographical comic strips about artists from the 1940s and respective graphic novels from the 2010s, using two corpora. Moreover, it establishes how anecdotes about Leonardo da Vinci’s life turned into genre-specific tropes that have been used in comics for 80 years.

Cast, David J., ed. (2013). The Ashgate Research Companion to Giorgio Vasari. Abingdon-on-Thames, Oxfordshire, England: Routledge. doi: 10.4324/9781315613017. ISBN 9781409408475. Giorgio Vasari ( / v ə ˈ s ɑːr i/, also US: /- ˈ z ɑːr-, v ɑː ˈ z ɑːr i/, [1] [2] [3] [4] Italian: [ˈdʒordʒo vaˈzaːri]; 30 July 1511 – 27 June 1574) was an Italian Renaissance painter and architect, who is best known for his work The Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of all art-historical writing, and still much cited in modern biographies of the many Italian Renaissance artists he covers, including Leonardo da Vinci and Michelangelo, although he is now regarded as including many factual errors, especially when covering artists from before he was born.

The biographies of earlier artists were rather poorly researched and have been much corrected by later art historians.