Details
VASARI, Giorgio (1511-74). Ragionamenti del Sig. Cavaliere Giorgio Vasari... sopra le inventioni da lui dipinte in Firenze nel Palazzo di loro Altezze Serenissime. Florence: Filippo Giunta, 1588.
4° (214 x 156 mm). Collation: +4 A-L8 M-O4 P2. 106 leaves. Roman type. Printer's woodcut devices on title and at end, woodcut historiated initials, woodcut medallion portrait of the author on +4v (used in the first edition of Vasari's Vite and reprinted in the second.) (Some light marginal foxing.) Contemporary limp vellum (lacking ties).
Provenance: Princes of Liechtenstein, bookplate.
FIRST EDITION, posthumously published by Vasari's nephew, of Vasari's treatise on his own wall and ceiling paintings in the Palazzo Vecchio and his frescoes in the cupola of the Duomo, couched in the form of a dialogue between the author and il Principe, Francesco I de' Medici. Vasari was known during his lifetime as a painter and architect, his repute as the first "modern" art historian spreading only after his death. A native of Arezzo, he came under the wing of the Medicis while a young student of the stained glass painter Guglielmo da Marsiglia; their patronage permitted him to travel widely, studying under Michelangelo (whom he considered the supreme artist) and Andrea del Sarto in Florence, and later studying the works of Raphael and his school in Rome. The large works discussed in this short explanatory treatise are generally considered Vasari's best paintings, although he died before completing the cathedral fresco. The work contains much information on the iconography of the Mannerist period.
Cicognara 225; Gamba 1729.
4° (214 x 156 mm). Collation: +4 A-L8 M-O4 P2. 106 leaves. Roman type. Printer's woodcut devices on title and at end, woodcut historiated initials, woodcut medallion portrait of the author on +4v (used in the first edition of Vasari's Vite and reprinted in the second.) (Some light marginal foxing.) Contemporary limp vellum (lacking ties).
Provenance: Princes of Liechtenstein, bookplate.
FIRST EDITION, posthumously published by Vasari's nephew, of Vasari's treatise on his own wall and ceiling paintings in the Palazzo Vecchio and his frescoes in the cupola of the Duomo, couched in the form of a dialogue between the author and il Principe, Francesco I de' Medici. Vasari was known during his lifetime as a painter and architect, his repute as the first "modern" art historian spreading only after his death. A native of Arezzo, he came under the wing of the Medicis while a young student of the stained glass painter Guglielmo da Marsiglia; their patronage permitted him to travel widely, studying under Michelangelo (whom he considered the supreme artist) and Andrea del Sarto in Florence, and later studying the works of Raphael and his school in Rome. The large works discussed in this short explanatory treatise are generally considered Vasari's best paintings, although he died before completing the cathedral fresco. The work contains much information on the iconography of the Mannerist period.
Cicognara 225; Gamba 1729.