Vasari's Florence : artists and literati at the Medicean Court /
edited by Philip Jacks.
Cambridge : Cambridge University Press, 1998.
xvi, 320 p. : ill. (some col.) ; 26 cm.
0521580889 (hardback)
More Details
Cambridge : Cambridge University Press, 1998.
0521580889 (hardback)
catalogue key
Includes bibliographical references (p. 305-313) and index.
A Look Inside
Full Text Reviews
Appeared in Choice on 1999-01:
In 1988 Yale's Beinecke Library acquired parts of a long-misplaced archive of Vasari's papers from the Palazzo Spinelli in Florence, a coup celebrated by a 1994 conference of European and American scholars. Jacks, coauthor with William Caferro of the forthcoming work "The Spinelli," organized the conference and edited its 14 papers. Many treat quite refined topics of specialized interest having to do with later 16th-century Florentine painting; the degree of scholarly documentation varies widely. Quotations in Italian are not translated. Even the color photographs are forgettable. Only Creighton Gilbert's essay, on Vasari's art collecting and that of his descendants, addresses the archival material at any length. Three articles address the general topic of Vasari's acquisitions; others deal with Vasari's painting and drawing, his biographies, and Cellini's autobiography. The pleasing sleeper is a study by Elizabeth Pilliod on the contemporary artists Vasari deliberately slighted in his Lives . . . (1852). Real points of difference are cloaked beneath the polite discourse of a convivial occasion, perhaps to everyone's loss, but both subject and authors are of indisputable prominence, sufficient to justify an addition to a popular topic (witness Patricia Rubin's Giorgio Vasari: Art and History, 1995, more focused on the Lives, less on Vasari's painting career). Upper-division undergraduates and up. P. Emison; University of New Hampshire
This item was reviewed in:
Choice, January 1999
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Table of Contents
List of Illustrations
Introductionp. 1
The Biographical Genre
Giorgio Vasari and the Paragons of Artp. 13
The Trick of Artp. 23
Representation, Misrepresentation, and Non-Representation: Vasari and His Competitorsp. 30
Artists and Literati at Court
Sprezzatura, Patronage, and Fate: Benvenuto Cellini and the World of Wordsp. 55
Vasari on the Practicalp. 70
Vasari Collezionista: The Formation of an Artist and a Connoisseur
Modes and Models in Vasari's Early Drawing Oeuvrep. 83
Vasari's Attitude toward Collectingp. 111
The Vasari Art Collectionp. 137
Giorgio Vasari's Collection of Paintings: Its Provenance and Its Fatep. 147
Istoria and the Representation of History
The Sala Grande in the Palazzo Vecchio and the Precedence Controversy between Florence and Ferrarap. 163
Vasari's Painting of the Terzo Cerchio in the Palazzo Vecchio: A Reconstruction of Medieval Florencep. 182
Circles of Sovereignty: The Tondi of the Sala Grande in the Palazzo Vecchio and the Medici Crownp. 206
Papal History and Historical Invenzione: Vasari's Frescoes in the Sala Regiap. 220
Vasari's Last Paintings: The Cupola of Florence Cathedralp. 238
Notesp. 253
Bibliographyp. 305
Indexp. 315
Table of Contents provided by Blackwell. All Rights Reserved.

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