Una passione che si riaccende (Italian Edition)

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This lets the his initial intimate connection to nature marks him as the art- reader know that for Vasari naturalism is not enough ; landscape ist whose naturalistic style begins the long journey of the arts had further to go to find its ultimate expression. The biographies towards perfection.

The setting Giotto imagines for his Stigmatization of St. Fran- Vasari says that he owns a drawing by Uccello showing a beau- cis is typical of his talents as a landscape painter: he tends to tifully-foreshortened ox, a peasant girl, some life-like shepherds, create spare but strikingly sympathetic landscape settings that and "a landscape that was held to be very beautiful in its time".

In Vasa- his landscapes and that landscape depiction changed for the bet- ri 's narrative, however, Giotto is a painter working at the very ter in later periods. These assessments become even clearer later dawn of the artistic Renaissance. Struggling to show the world in the biography in the longest sustained discussion of landscape how to present the true forms of things , Giotto could not have painting anywhere in the Vite. In a description of the Creation and too much concern for the embellishments of painting. It was enough for tions naturalism , light effects, and topographical accuracy, for Paolo to go on, according to the rules of perspective, drawing instance , there is much more information about landscape in and foreshortening them exactly as they are, making in them all the second part of The Lives.

These three faults are interconnected. While of nature, in so much that we may boldly say that these arts were his restriction to line, tempera and fresco limited his ability to blend not only reared but actually carried to the flower of their youth, color and evocatively suggest depth, he also used these media giving hope of that fruit which afterward appeared.

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In "perfect" landscape, Vasari implies, there are no displeasing, hard "minutenesses of nature". Uccello In this text, Vasari is praising advances in naturalism. Mid- falls prey to an unrelieved verisimilitude, making secca e tagliente , dle-period painters learned to apply consistent rules to their "dry and sharp", those things which should be blended and soft, perspectival space, and foreshorten and model their forms "with including the rendering of space.

Uccello, Vasari notes, was known in his own era for execut- 3. Photo: Art Resource ers of the second manner. Vasari describes the Nativity Alesso painted in Santissima Annunziata now damaged, Figs 5 and 6 , remarking that the viewer can count the very stalks and knots of straw in a pictured hut, and see such minute details as the water and frost damage of a ruined stone house in the background.

He in The Lives means to copy literally, with no idealizing. These observations suggest that Alesso 's particular tal - Alesso was very diligent in his works, and he strove to be an imi- ent, as Vasari says elsewhere, was "to counterfeit very well the tator of all the minute details that Mother Nature creates.

He had objects of nature".


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The term contratare here and in other places a manner somewhat dry and harsh In the edition , Vasari tells us that fifteenth-century painters were aware of and frustrated by the limitations of the media available to them. Alesso and Leonardo , he says, both attempted experiments with different mixtures trying to find a way around the non-blendable media fresco and tempera.

Its proper use was first seen , however, according to Vasari , in the oil paintings of the North Italian second-manner painters Francesco Francia and Pietro Perugino.

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At the sight of their works , he writes, "people ran like madmen to this new and more life-like beauty". Dead Christ [Fig. His manner was secca e crudetta , "dry and harsh ", just of these errors relate to the problems Vasari found in Uccello as Uccello 's was secca e tagliente. These judgments - dry, and Alesso's landscapes. Earlier painters , Vasari complains, harsh, unpleasant, diligently rendered - are all typical remarks had been constrained by "rule and measure" and over-zealous Vasari makes about a certain sort of fifteenth-century painter.

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And , edit out the myriad, overly-natural details, and add excitement although a painter can make such errors in execution with any both to their landscape ornament and to their manner of execu- subject matter, Vasari notes in the biography of Uccello that it is tion , bringing the world "a great number and variety of bizarre particularly egregious in depictions of landscape.

Although Vasari landscape painters innovate, in other words, in medium, meth- states that disegno is the highest skill in art, these older masters od , and content. He then era, and there are correspondingly a greater number of bio- immediately undermines this second-hand compliment, how- graphical chapters in the final part of The Lives , a total of seven- ever, by mentioning that the painter worked only "in distemper", ty-eight, in contrast to the thirty in part one and the fifty-three in and that, prior to Pietro Perugino's time, when oil began to be part two.

Vasari 's writing ings as inferior in comparison to oil. Perhaps even more surpris- and his paintings both provide evidence that he prefers oil paint ing , a careful reader may find Vasari ambivalent even towards over the two older methods, tempera and fresco. In just one of fresco. Vasari , of course, appreciated oil for reasons beyond its use in painting landscape, noting in various passages its vivid color and the way it convincingly and enticingly set forth flesh and hair.

What did oil paint give to land- scape? With the advent of oil paint, contours softened , space became a continuous , blended expanse of color, and the pleas- ing regions of the outdoor world began to be rendered with con- vincing depth and texture. Vasari explains what the oil medium allowed : "This manner of painting kindles the pigments and nothing else is needed except diligence and devotion, because the oil in itself softens and sweetens the colours and renders them more delicate and more easily blended than do the other mediums.

While the work is wet, the colours readily mix and unite with one another". Application The invention and wide-spread use of oil paint was not enough to perfect the art of oil painting ; it was left to Italian painters of the third period to perfect its application. All Perugino's works have not held up well , Vasari notes, because of mistakes the artist made with the oil technique.

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Photo: Art Vasari believes the execution of a painting should look Resource unforced and unstudied. Landscape, an ornamental art, espe- 7. Photo: Art cially needs a suaveness that does not betray hard work or Resource preparation. Although some items on the list, like beards paint "things unpleasant to the eye, which were as painful to see and armor, relate to embellishing figures with convincing sheen as they were difficult for them to execute, especially foreshorten- and softness or light-reflecting brilliance, most are to be found in ings and disagreeable landscape views vedute ".

Largely due to his exciting method of applying of light within a painting such as fire , lightning, brilliant sun or paint, he figures as one of the best landscape painters in Vasari 's moonlight. Raphael , the modern Apelles , could best anyone book. Polidoro painted two extraordinary religious landscapes with his paintings' vivid adornments. Vasari describes these murals as "colored " rather than painted , a term that points to the oil medium with Vasari, Landscape, and the North which they were executed. Vasari believes that other artists owe Polidoro a great debt because "the disposition of the landscapes In part one of the Lives, artists began to study nature, and this is executed with supreme grace and judgment.

For Polidoro, in leads to Giotto's invention of natural-looking landscapes.

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In part truth , executed landscapes and groups of trees and rocks better two, painters such as Uccello and Baldovinetti perfect natural- than any other painter, and it is to him that art owes that facility ism , but fail at selective, idealized imitation , in part because of which our modern craftsmen show in their works ". In the latter part of the facilita , the "facility", or speed and assurance, with which Polidoro second era, Pietro Perugino and Francesco Francia begin to paints, that impresses Vasari.

This impression is furthered by blend oil color in remarkably life-like and pleasing ways, but Vasari 's rare use of the term macchiato in describing Polidoro's cannot achieve the ultimate manner due to a lack of finish and San Silvestro works as macchiati de ' paesi. The term macchiato boldness.


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Finally, in the third era, with painters like Polidoro and implies smeared or speckled paint application - in other words, a Raphael , application is improved , as is selective imitation, mak- bold , painterly hand , freely rendering pigment. So far, except for Jan van Eyck's invention of paint to be applied in the correct manner, and it was also nec- oil paint, nowhere in this history have we encountered Northern essary for artists to use the correct invention in selecting which European art.

While Uccel- Vasari admits piecemeal that Northern Europeans were pio- lo and others had erred in showing everything , including ditches neers in many factors essential to good landscape painting. In and dirt, Vasari 's third style requires instead artfully-varied and addition to Jan Van Eyck's technical innovations, Northerners idealized background details. Raphael of Urbino [Fig. In learned to execute "a bizarre variety of perspectives, buildings , the sixteenth century, according to Vasari , the prowess of North- and landscapes ".

Additionally, Vasari gives an impressive list ern painters was recognized by Titian and Raphael , who each of the ornaments with which Raphael graced his paintings: "an kept Northern painters in their workshops expressly to paint endless variety of [ While Raphael's beautiful additions can to criticisms about his first edition's fo. Florence, Galleria Palatina, Palazzo Pitti.

Photo: Art Resource ures brought to even lower classes of people by "German " land- landscapes from Durer into his own works. His Life of Pontormo , for instance, Northern landscapes, in Vasari 's estimation , suffer from describes a Pieta in which "most beautiful of all in this picture many of the same problems as second-manner Italian paint- was a landscape taken for the most part from an engraving by ings. Vasari thought that the detailed settings of Northern land- Albrecht Durer". The landscape in Perugino 's Dead Christ is praised in both editions, but only in the second is the corollary appended - that the "true man- ner" of making them had not yet been found.

Furthermore, the extensive list of landscape ornaments that Raphael could paint, including especially those fiery and cosmic effects which are often considered to be Northern imports, was only added by Vasari to the second edition of Raphael 's biography. Why did Vasari make these changes?

We know that between and , Vasari learned a good deal more about Northern painters, and this may have prompted him to go back to his own text and rewrite certain parts to make sure that Italian artists were not overshadowed by Northern land- Photo: Scala I Art Resource, NY can be found in a new chapter of the Vite entitled "Divers Flemings", which is essentially a grab-bag of names of Northern artists, about some of whom Vasari clearly knows very little. Considering the difficulties faced, I decided to cover as far as I could the remaining day on the road to avoid field and pastures.

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It was because it was rainy and sunny at the same time, typical English weather. The next few stages across Monmouth and Wee Valley were easy enough and with lovely views. It is nowadays a cozy hostel and just to cheer the end of the first part of my adventure, I slept there. Sito web. The black mountain.

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