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"Giorgio Vasari"
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Continuità fragile: nodi conservativi per le ricostruzioni novecentesche del Corridoio Vasariano
The Vasari Corridor underwent significant interventions over the course of the 20th century, often prompted by historical or technical urgencies. The most recent restoration projects have focused on a reflection around the “restoration of previous restorations,” critically addressing 20th-century modifications, such as the false ceiling that was removed and reinstated, the post-war reconstruction of the arch over Via de’ Bardi, and the 19th-century openings. This article analyzes these interventions in light of archival sources, surveys, and structural investigations, offering a stratigraphic reading of the structure. The approach adopted is based on the principles of compatibility and historical memory, restoring the Corridor’s symbolic and museological function. As such, the case becomes a paradigm of critical restoration applied to a complex work, suspended between historical stratification and new conservation needs.
Journal Article
'Creations of the professor's fertile mind' – August Hagen's artists' novels
August Hagen (1798–1889), professor for history of art and aesthetics at the Prussian university of Königsberg, is the author of a series of historical novels on the subject of artists’ lives. Pretending to be transliterations of newly discovered or translated historical sources, Hagen re-wrote and novelized the lives of artists from the fifteenth and sixteenth century, enriching them with elements of light fiction. This paper focuses on the question of how Hagen’s novels were written, read and reviewed in a period marked by the development of history of art as an academic discipline.
Journal Article
Che si conoscono al suo già detto segno Vasari's connoisseurship in the field of engravings
The esteem in which Giorgio Vasari held prints and engravers has been hotly debated in recent criticism. For early sixteenth-century prints, in short, it is clear that Vasari generally knew who the engravers were, rather than being able to recognize them.However, particularly as regards the authorship of the inventions, there are some cases in which Vasari was forced to attribute engravings: those for which the signatures did not provide him with sufficient information. Significantly, in his long discussion of engravers, he hardly ever failed to attribute to someone (the engraver himself or another artist, whether a painter or sculptor) the invention of the prints he described: Vasari (in contrast to Francisco de Hollanda, as we have already said) always felt the need to determine who the author of the invention was. The famous Stregozzo, certainly a product of the school of Raimondi (the authorship of the engraving is still contested between Marcantonio and Agostino Veneziano), a print of which he must have known, is left out of the Lives completely: Vasari probably had no idea who was responsible for the invention and thus chose not to mention it at all.
Journal Article
Setting as revisionism: Vasari's use of Dürer's Siege in the Palazzo Vecchio
Giorgio Vasari’s workshop decorated the Room of Clement VII in the Palazzo Vecchio, Florence in circa 1556–62 with history paintings celebrating Pope Clement VII's achievements. The paintings present the Medici pope’s family in a favourable light, even at the expense of historical fact, to legitimize their newly established ducal rule. The painting Cardinal Ippolito de’Medici Sent to Hungary as Papal Legate demonstrates Vasari’s encomiastic charge. The background reproduces Albrecht Dürer’s woodcut of an invented siege to illustrate the cardinal’s participation in the 1532 siege of Vienna – a siege that never happened. The painting ignores Ippolito’s misconduct to present the Medici as saviours of Emperor Charles V. The use of the Dürer woodcut aids in this revisionism by generalizing the setting while arguing for the emperor’s weak defence through its fortification display. With the painting of Cardinal de’Medici, Vasari argued that Medici aid supported and justified the family’s imperially decreed duchy, an argument that fits the general truthfulness of Vasari’s theme by glossing over the specifics of the historical events.
Journal Article
Ja prototüübist sai stereotüüp... Eesti algupärane kunstnikuromaan, vagajutu ja naistepõlguse intertekst
The article examines the vernacular Estonian artist novel and the ways art historical narratives are adapted to it. With the integration of literary fiction with an art historical foundation, a recurring discursive pattern is observed in novels: echoing Christian martyrdom, Estonian artist novels feature the archetype of the evangelical passion story. Korduvalt sattuvad haamri ja alasi vahele Giorgio Vasari, Ernst Gombrichi ja Horst Woldemar Jansoni ülimenukad „meesgeeniuste\" kunstiajalood, mis juba 1970. aastate alul andsid Linda Nochlinile, Rozsika Parkerile ja Griselda Pollockile casus belli, ôigustatud pöhjuse raevukaks kaanonikriitikaks. Viimase eest hoolitseb, Pollocki ja Heinichi ühisel arvamusel, moodne kleerus - art world'i galeristide, kriitikute ja kuraatorite pühitsetud seisus.16 Uus sajand toob „kopernikliku revolutsiooni\" massidesse - uue kunstiajaloo ühiskonnakriitilise hoiakuga liituvad kultuurimälu menukad uurijad.
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Giovanni Battista Adriani and the drafting of the second edition of the Vite: the unpublished manuscript of the Lettera a Messer Giorgio Vasari in the Archivio Borromeo (Stresa, Italy)
An essay is presented that discusses the second edition of Giorgio Vasari's \"Lives,\" done in collaboration with Vincenzio Borghini and Giovanni Battista Adriani. The autograph manuscript of Adriani's \"Lettera sull'arte degli Antichi\" (\"Letter on the ancients' art\") is inserted in the second edition of \"Lives.\" This 16th-century manuscript is examined for its historical significance, the collaborations, the drafting stages and textual modifications, and Vasari's methodologies.
Journal Article