In 1959, Federico Zeri isolated an Umbrian painter and named him the Master of the Greenville after the Madonna and Child with Angels tondo in Greenville, South Carolina. Through connoisseurship, scholars have since attributed over thirty-two works to the Master of the Greenville, categorizing the anonymous artist as a close follower of Perugino's style. My research focuses on a Nativity panel now in the Museum of Fine Arts in Saint Petersburg, Florida. It is called the Jonas Nativity after its former owner, the late art collector Harriet H. Jonas. Through connoisseurship, scholars have almost exclusively focused on attributing the Jonas Nativity to an artist in the framework of Perugino's stylistic influence. Although the Jonas Nativity is clearly indebted to Perugino, the emphasis on naming the artist has led to formal analyses that almost exclusively rely on connoisseurship. As a result, there is virtually no critical analysis on the Jonas Nativity outside the context of this method. Pietro Scarpellini has argued that scholars place too much emphasis on Peruginoís stylistic influence when interpreting Umbrian art ñ he labeled this problem the ìmyth of Perugino.î Scarpellini asserts that the myth is a methodological emphasis on Peruginoís stylistic influence on Umbrian images. Scarpellini traces the origins of the myth to Vasari, who wrote in Peruginoís biography that he established a significant stylistic following in Umbria. Later, Vasariís account was interpreted by writers of the Romantic Period as an Umbrian School of Painting dominated by Perugino; this viewpoint has remained prevalent in critical interpretations on Umbrian art through today. This study recognizes the general stylistic impact of Perugino on the Jonas Nativity, but shifts focus by shedding light on how the painting likely fit into the culture of late fifteenth-century Umbrian patronage and workshop practices. In doing so, I show how the Jonas Nativity can be read as a product of a patronage system largely dominated by Umbriaís ruling families during the late fifteenth-century. While Peruginoís art affected the stylistic qualities of the Jonas Nativity, the market demands of Umbriaís ruling noble patrons greatly dictated the structure and output of workshops in which the Master of the Greenville probably worked. My investigation intends to expand the critical inquiry of the Jonas Nativity and lay the groundwork for a methodological balance between the influence of Perugino and the cultural forces shaping Umbria's early modern images.

Thesis (Ed.D)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Sponsor: Judith M. Burton. Dissertation Committee: Justin Schorr. Includes bibliographical references (leaves 199-206).

The subject of this diploma thesis is Cellini's literary work The Autobiography. Firstly, his profile is introduced within the cultural and historical context as well as the events that mostly influenced his artistic career. Secondly, other prominent biographers of his era are introduced and the most important issues of The Life as well as Cellini himself, as a unique exponent of Italian Cinquecento, are analyzed. In the next chapter The Life is confronted with The Lives of the Artists written by Giorgio Vasari, especially with the life of Michelangelo Buonarroti who was Cellini's lifelong teacher. The final chapter is dedicated to the Renaissance concept of an artist regarded as a god. Powered by TCPDF (www.tcpdf.org)

This degree project aims to investigate the potential and possibilities for conceptual energyanalyses in the early stages of the design process. Many key decisions are made in theearly stages of a project regarding the shape and orientation of the building. Conceptualenergy analyses can provide the architects with insight regarding different design option’srelative energy performance.As the demands for more sustainable buildings increases, so does the need for earlyenergy analyses. Performing analyses in the early stage requires many assumptions andguesswork which could lead to a large margin of error.The offering from Autodesk is a module in Revit Architecture/MEP and the stand aloneprogram Project Vasari (under development). It is an interesting tool for architects with aneasy and quick work flow and can easily be implemented in today’s design process.The analysis of the results generated shows that the program has a margin of error thatmake some of the features less useful. Comparing the results with an analysis done in amore established and sophisticated software suggests that the result at this stage cannot betrusted.

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Properzia De’Rossi (1490-1530) première sculptrice de la Renaissance italienne naquit vers 1490 à Bologne et mourut en 1530. Elle suscita un grand intérêt non seulement pour ses qualités d’artiste mais aussi pour avoir transgressé les rôles traditionnels de la femme. Nous la connaissons grâce à Giorgio Vasari qui dans la première édition des Vite de 1550, lui consacre une biographie, seule femme à figurer parmi les cent trente-trois biographies d’artistes rassemblées par l’historiographe. Dans la seconde édition de 1568 Vasari accompagnera Properzia De’Rossi de trois autres femmes artistes peintres encore en vie et productives en 1568 : Plautilla Nelli, religieuse, Lucrezia Quistelli et Sofonisba Anguissola aristocrates. Properzia De’Rossi est « hors norme » : ni religieuse ni aristocrate ; elle exerce la sculpture en professionnelle. L’unique œuvre connue avec certitude est son célèbre bas-relief de Joseph et la femme de Putiphar. Œuvre autobiographique d’après Vasari qui suggère le scandale d’une femme mariée ayant un jeune amant. Sa mort précoce en 1530, alors qu’elle est demandée par le pape Clément VII venu à Bologne pour le couronnement de Charles Quint, dramatise sa mort au sommet de sa gloire. Elle travailla sur le chantier prestigieux de San Petronio avec des sculpteurs renommés. Le XIXe siècle l’a perçue comme une héroïne romantique, elle perdit peu à peu son identité de sculptrice. Le XXe siècle la considère comme pionnière dans un monde professionnel masculin. Notre approche, à la croisée des chemins historiques, artistiques et littéraires tente de donner une vision complète de cette artiste talentueuse, dotée d’une forte personnalité, célèbre pour avoir su braver les interdits et exercer son métier de sculptrice. / Properzia De’Rossi (1490-1530) first great sculptress of the italian Renaissance, was born in Bologna around 1490 and died in 1530. She arouses a great interest not only for her artistic qualities but also for having infringed the traditional roles of the woman. She owes her fame to Giorgio Vasari, who in the first edition of Le Vite, 1550, devoted a single biography to her, the only woman to appear among the one hundred thirty three biographies of artists gathered by the historiographer. In the second edition of 1568, Vasari will add three other women painters alive and professionally active in 1568 : the nun Plautilla Nelli, the aristocrats Lucrezia Quistelli and Sofonisba Anguissola. Properzia De’Rossi is outstanding : neither nun nor aristocrat, she practices the sculpture as a professional sculptor. The only single work known with certainty is her famous bas-relief Joseph and Potiphar’s wife. An autobiographical work according to Vasari, who suggests the scandal of a married woman having a young lover. Her premature death in 1530, as she was called by pope Clement VII in Bologna for Charles V’s coronation, dramatizes her death at the height of her glory. Famous in Bologna, she worked with renowned sculptors in San Petronio. The nineteenth century perceived her like a romantic heroin : in love and unhappy. She lost little by little her identity of sculptress. The twenteenth century might see her as pioneer of female work in a male professional environment. Our study at the crossroads of historical, artistic and literary approaches attempts to give a comprehensive vision of this talented artist with a strong personality, famous for having broken the taboos in order to work as a sculptress.

Précieuse source d’informations sur l’auteur des Vies des meilleurs peintres, sculpteurs et architectes, la correspondance de Giorgio Vasari (1511-1574) est bien connue des historiens de l’art depuis son édition par Karl Frey (1923-1930). La conservation rigoureuse de ses nombreuses lettres ainsi que la remarquable qualité stylistique d’une grande partie d’entre elles, invitent à s’interroger sur la valeur que Vasari lui-même pouvait attribuer à son écriture épistolaire. Voyait-il ses lettres comme une partie fondamentale de son legs culturel ? On peut se demander s’il avait pu caresser le projet de les publier sous forme de recueil, conformément à une pratique très diffusée chez les hommes doctes du XVIe siècle. C’est justement un recueil qui se distingue tout particulièrement au sein du riche carteggio vasarien : le manuscrit Riccardiano 2354, de la Bibliothèque Riccardiana de Florence. Datant de la fin du XVIe siècle, ce petit codex contient quarante-huit missives copiées par le neveu et principal hériter de l’artiste arétin, Giorgio Vasari le Jeune (1562-1625), fonctionnaire médicéen versé dans différents savoirs techniques et scientifiques. Cette étude analyse les opérations de sélection, de transcription et de possible transformation menées par Vasari le Jeune à partir des sources épistolaires originales de son oncle, aujourd’hui introuvables. Des indices matériels et textuels laissent penser que le volume de la Riccardiana pourrait avoir été conçu comme un « livre de lettres » destiné à la publication, mais finalement jamais paru. Une initiative éditoriale avortée donc, visant la célébration posthume de la vie et de l’œuvre de Vasari à travers la valorisation de son héritage épistolaire. La lecture croisée des textes du recueil et d’autres missives qui y furent exclues, permet de reconnaître, en amont de l’entreprise de Giorgio le Jeune, un dessein de reconstitution biographique qui privilégie certains aspects de la figure de Vasari, en omet d’autres et, parfois, plie l’héritage culturel de l’artiste aux exigences d’affirmation personnelle du neveu dans le contexte médicéen de son temps. La résultante principale de cette recherche est une réflexion sur les dynamiques propres à l’écriture épistolaire de Vasari, sur les fonctions diverses qu’elle pouvait endosser dans les différentes phases de sa carrière d’artiste et d’écrivain. Car la pratique épistolaire fut pour Vasari un outil privilégié pour la mise en représentation de soi vis-à-vis de son réseau de correspondants, pour l’apprentissage de la parole littéraire et pour l’élaboration des procédés de l’ekphrasis, plus largement développés dans les Vies. / A valuable source of information on the author of The Lives of the Artists, the correspondence of Giorgio Vasari (1511-1574) is well known to art historians, mainly since its almost complete edition published by Karl Frey (1923-1930). If we consider the fact that Vasari zealously kept his numerous letters during his whole life, as well as the remarkable stylistic quality of many of these texts, we realise the importance of inquiring into how significant his epistolary writing could have been to him. Did Vasari see his missives as an essential part of his cultural legacy? In this case, it has to be questioned whether the artist could have ever conceived the project of publishing a selection of his letters, in accordance with a widespread practice among literates in the Fifteenth century. A collection of Vasari’s letters was actually gathered and still stands out from the large number of documents of his vast carteggio: it’s the manuscript Riccardiano 2354, held by the Biblioteca Riccardiana in Florence. Dating from the late Fifteenth century, this small codex contains forty-eight letters posthumously copied by the artist’s nephew and principal heir of his estate, Giorgio Vasari the Younger (1562-1625), an official of the Medicean Court deeply versed in several scientific and technical disciplines. This study investigates the process of selection, transcription and possible manipulation conducted by Vasari the Younger on his uncle’s original epistolary sources, which are nowadays still missing. Several material or textual hints can suggest that the Riccardiana’s volume might have been a “libro di lettere”, a book of letters designed for publication, but finally never printed. The chief aim of this editorial effort would have been a posthumous celebration of Vasari’s life and artistic achievements, through the highlighting of his missives. The comparison between the texts included in the Riccardiana’s manuscript and other excluded letters, allows us to recognise, as the essential mainstay in Giorgio the Younger’s work, the design of a biographical depiction of Vasari’s figure, focusing on specific traits and omitting others. The artist’s epistolary legacy seems to be occasionally subject to his nephew’s personal career requirements in the Medicean context of his time. The result of this research is a series of considerations on the dynamics inherent in Vasari’s epistolary writing, such as the various functions that it could assume according to the different phases of the artist’s career. Epistolarity has been Vasari’s main tool for self-fashioning towards his correspondents; as well as for literary learning and for the conception of the device of ekphrasis, developed on a larger scale in the Lives.

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Giorgio Vasari nasceu em 1511, na cidade de Arezzo, Itália. Em 1574, quando morreu, deixou atrás de si uma enorme quantidade de pinturas por toda a Toscana, uma série de empreendimentos arquitetônicos em Florença que realizou para o duque, bem como a obra pela qual talvez seja mais conhecido: o livro das Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (As vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue até os nossos tempos descritas em língua toscana por Giorgio Vasari pintor aretino com uma introdução útil e indispensável para as diferentes artes). Tão impressionante quanto o sucesso de sua carreira, são a quantidade e a variedade de registros sobre si mesmo que Giorgio Vasari foi capaz de produzir. Hábil também como escritor, registrou uma autobiografia como pintor e arquiteto, que julgou pertinente inserir na segunda edição de seu livro, além de um diálogo em que explica a decoração do Palazzo Vecchio. Também guardou cuidadosamente o registro de boa parte de suas encomendas, e deixou uma série de papéis esparsos que seus descendentes reuniriam com orgulho no chamado Zibaldone, em que estariam preservadas as invenzione do cavaliere Giorgio Vasari. Conhecedor e amante das artes, como se apresenta não apenas em sua autobiografia, mas ao longo de todas as Vite, detinha os meios técnicos necessários para realizar os ciclos decorativos internos das duas casas que adquiriu com o sucesso de sua carreira. Uma em Arezzo, sua cidade natal, a outra em Florença, local de sua realização profissional. Nesses ciclos expressou, ainda que de forma menos evidente do que os padrões contemporâneos exigem, e sempre limitado pelas convenções de sua época, o entendimento que tinha de si mesmo e de sua trajetória. Nesse trabalho, dedico-me a analisar essa documentação deixada por Vasari, procurando os traços de sua descrição de si mesmo, e tentando entender seus limites, suas possibilidades, suas inovações e suas motivações. Procuro compreender esse material a partir de um horizonte de expectativas individual do próprio Vasari, relacionando-o ao contexto de possibilidades que se abriam ao artistas durante esse período do qual ele não apenas fez parte, mas também ajudou a construir conceitualmente para a disciplina histórica: o Renascimento. No primeiro capítulo tento entender os limites dentro dos quais operava sua autorrepresentação escrita recorrendo a fontes mais antigas. A análise dessa figuração retórica através do texto aparece no segundo capítulo, em que realizo o comentário mais extenso de seus escritos. Essa tarefa bipartida é condensada no terceiro capítulo, em que procuro delimitar sua representação pictórica através de exemplos anteriores e contemporâneos, antes de realizar a análise do material vasariano propriamente dito. / Giorgio Vasari was born in 1511 in the town of Arezzo, Italy. In 1574, when he died, he left behind a huge amount of paintings throughout Tuscany, a series of architectural projects in Florence wich he performed for the Duke, and the work for which is perhaps best known: the book of the Vite de’più eccelenti architetti, pittori e scultori italiani da Cimabue insino a tempi nostri descritte in lingua toscana da Giorgio Vasari pittore Aretino con una sua utile e necessaria introduzione a le arti loro (The lives of the most excellent italian architects, painters and sculptors from Cimabue to our times described in the Tuscan language by Giorgio Vasari aretine painter with a useful and indispensable introduction to the different arts). As impressive as the success of his career, is the quantity and the variety of records about himself that Giorgio Vasari was able to produce. Also skilled as a writer, he recorded an autobiography as a painter and architect, wich he judged appropriate to insert in the second edition of his book, as well as a dialogue in which explains the decoration of the Palazzo Vecchio. He also kept carefully the record of most of his works, and left a number of scattered papers that his descendants proudly gathered in the so-called Zibaldone, in wich would be preserved the invenzione of Cavaliere Giorgio Vasari. Connoisseur and lover of the arts, as he presents himself not only in his autobiography, but all over the Vite, he held the technical means to carry out the internal decorative cycles of the two houses he acquired with the success of his career. One in Arezzo, his hometown, the other in Florence, site of his professional achievement. These cycles expressed, albeit in a less obvious way than contemporary standards require, and always limited by the conventions of his time, his understanding of himself and his career. In this work, I dedicate myself to examine this documentation left by Vasari, looking for traces of his description of himself, and trying to understand its limits, possibilities, innovations and motivations. I try to understand this material from a perspective of Vasari‟s individual expectations, but also relating it to the context of possibilities that opened to artists during this period in which not only he took part, but also helped to form conceptually for the historical discipline: the Renaissance. In the first chapter I try to understand the limits within which Vasari operated his written self-representation using older sources. The analysis of this rhetoric figuration through the text appears in the second chapter, in which I render the more extensive review of his writings. This bipartisan task is condensed in the third chapter, in which I try to delineate his pictorial representation through previous and contemporary examples before performing the analysis of Vasari material itself.

Study of self-presentation of artist in the Italian painting of the 16th century - abstract Italian art of the 16th century, known as the Cinquecento, is undoubtedly a captivating chapter of art history. No less interesting are the lives of artists from that time, the understanding of self-value and its presentation, creating the artist's identity, i.e. their "artistic self". Within a century we may observe the transformation from a craftsman to an artist, and subsequently artist- the courtier. The main representatives of this "movement", trying to raise the status of arts and artists in the society, were Giorgio Vasari and Federico Zuccari. Each represented a different generation of artists; however, figures of both these painters are complemented in a curious way. There are moments when their lives meet and, in a certain way, follow one another. It is one of the reasons, why the connection Vasari-Zuccari is suitable for understanding social situation or the self-presentation of central Italian artists in the 16th century. It is almost as if this duo was representing a fictitious art figure of the Cinquecento, whose life began 1511 (with the birth of Giorgio Vasari) and ended in 1609 (with the death of Federico Zuccari) and by studying this figure we discover the development of artists' self-concept and...