Liana Cheney De Girolami Livres

If, as the famous saying goes, you really are what you eat, then Giuseppe Arcimboldo (1527-1593) was a consummate painter of the human soul. This artist was a master draftsman whose finely wrought canvases captured the imagination of his generation. In this fascinating book, Liana De Girolami Cheney takes a closer look at the critical history of Arcimboldo's work, from his initial popularity and the tragic obscurity that followed his death, to the ventual triumphant revival of his work and vision by Surrealist admirers of the 1920s.

This book focuses on Sir Edward Burne-Jones’ mythical paintings from 1868 to 1886. His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. This book analyzes two main Burne-Jones’ assimilation of Neoplatonic ideal beauty as depicted in his solo and narrative paintings, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.

The aim of this book is to focus on the origin of the historiography of the terms Mannerism and Maniera in paintings and drawings of the sixteenth-century in Italy. The articles herewith presented fall into two categories. The first group explains the definition of the terms Mannerism and Maniera , their periodicity, and their sources as illustrated by Giorogio Vasari, John Shearman, Craig Hugh Smyth, and Sydney Freedberg. The second deals with the polemic associated with the usage of the term and historiography and its application as voiced by Walter Friedlaender, Max Dvorak, Ernst Gombrich, Henri Zerner, David Summers, Malcolm Campbell, and Iris Cheney.

Exploring the intersection of art and history, this collection of essays delves into Giorgio Vasari's influence on 16th-century painting and his role in the emblematic tradition. It highlights his evolution of history painting, shaped by his classical education and passion for art collection. Vasari's integration of classical and Renaissance elements creates a unique artistic language, offering insights into the visual and philosophical frameworks of his time. His work reflects a rich humanistic culture, merging diverse traditions to craft a significant historical repertoire.

Giorgio Vasari (1511-1574), Florentine painter, architect, art collector and writer, is best known for his Vite de' più eccellenti architetti, pittori et scultori italiani, da Cimabue insino a' tempi nostri (Lives of the Most Excellent Architects, Painters and sculptors of Italy, from Cimabue to our present time) which was first published in 1550. By virtue of this text, Vasari was knows as the "first art historian" since Pliny the Elder. This volume provides an opportunity to study and understand the art, theory, and visual culture of Giorgio Vasari and sixteenth century Italy. For the first time all of Vasari's Prefaces from the Lives of the Artists (1568) are included in the original Italian and in English translation. Through the eyes of Vasari, this book captures the creative achievements of his fellow artists--how they adopt nature and the classical tradition as their muses and how they ingeniously interpret the secular and religious themes of the past and present.

This book examines the artistic, cultural, and historical influence of Giorgio Vasari's teachers, mentors, and patrons on his sacred and profane paintings. As a Maniera artist, Vasari learns to admire and assimilate the art of the ancient masters. With the guidance of Dante's literary writings and Marsilio Ficino's Neoplatonic philosophy, Vasari reveals a moral and didactic vision in his art. Additionally, Vasari's artistic patronage is influenced by the political views of Niccolò Machiavelli. In the integration of both ancient art and myths with the didactic legacy of biblical figures and moral personifications, Vasari manifests his artistic theory and symbolism in his sacred and profane paintings.

Giorgio Vasari was one of the few artists in the history of art who built, designed, and decorated his homes. This book is the first to focus on Vasari's decorative cycles for his homes in Arezzo and Florence, revealing the significance of the artistic, cultural, and historical milieu of the sixteenth century. This study breaks new ground in two ways: First, in a personal and original manner, the imagery is related to Vasari's artistic ideas on history painting and the role of the artist. And second, Vasari's imagery portrays visual galleries applauding his teachers, antiquity and the creation of art.

Neoplatonic Aesthetics: Music, Literature, and the Visual Arts explores the idea of a Neoplatonic aesthetic, a philosophy of the arts based on the writings of Plato and the Neoplatonists - principally Plotinus, Proclucs, Pseudo-Dionysius, Nicolas Cusanus, and Marsilio Ficino - and more contemporary philosophers - Stephen MacKenna, Iris Murdoch, Denman Ross, Jacques Derrida, and Hans Georg Gadamer. This book examines the artistic production of figures such as Gioseffe Zarlino, Fra Angelico, Leon Battista Alberti, Sandro Botticelli, Michelangelo, and Giorgio Vasari, and it formulates theoretical approaches to contemporary production based in the Neoplatonic philosophies.

Edice Světové umění je zasvěcena nejvýznamnějším osobnostem v dějinách umění a jejich dílu. Dokonale graficky zpracované knihy obsahují velké množství kvalitních barevných reprodukcí, z nichž si čtenář může udělat dobrou představu o umělcově tvorbě. Doprovází je fundovaný biografický text, který shrnuje nejen základní informace o malířově životě, ale také o jeho postojích a názorech a obecně přístupu k umění. Díky praktickému formátu a vysoké kvalitě představuje série Světové umění dokonalé dárkové publikace. Guiseppe Arcimboldo (cca 1530–1593), italský malíř proslulý zejména originálními podobiznami z malovaných květin, ovoce a dalších předmětů, poskládaných do podoby lidské hlavy.

Lo scopo di questa ricerca è di posizionare i dipinti della Casa Vasari e della Sala Vasari entro lo sviluppo di Vasari come artista della Maniera e anche per dimostrare il modo in cui i suddetti dipinti hanno esemplificato lo stile della Maniera. L'intento è anche quello di decifrare l'iconografia figurativa o il simbolismo emblematico nel contesto culturale e filosofico del loro tempo e anche di considerare le idee del Vasari sull'estetico e l'arte, specialmente in relazione con i suoi lavori nella Casa Vasari e nella Sala Vasari.