Vasari’s artistic career was very soon stimulated by the will to compete with the great decorative cycles in Rome, and he accumulated experience in this field until he achieved what he defined in 1568 as an “vast and most important undertaking, and, if not too much for my courage, perhaps too much for my powers”, referring to the renovation and decoration of the Sala Grande in the Palazzo Vecchio in Florence. This paper aims understand how Vasari observed his models and the works of his contemporaries, reinterpreted them in his own work and thus recorded, visually and textually, a certain norm for later generations. It includes observations on the composition of Ragionamenti, on subsequent theoretical attempts by Lomazzo and Armenini, and on at least two fundamental concepts for the development of complex decorative cycles, namely order and spartimento.
The Perfect Decorative System according to Giorgio Vasari
Émilie Passignat
In corso di stampa
Abstract
Vasari’s artistic career was very soon stimulated by the will to compete with the great decorative cycles in Rome, and he accumulated experience in this field until he achieved what he defined in 1568 as an “vast and most important undertaking, and, if not too much for my courage, perhaps too much for my powers”, referring to the renovation and decoration of the Sala Grande in the Palazzo Vecchio in Florence. This paper aims understand how Vasari observed his models and the works of his contemporaries, reinterpreted them in his own work and thus recorded, visually and textually, a certain norm for later generations. It includes observations on the composition of Ragionamenti, on subsequent theoretical attempts by Lomazzo and Armenini, and on at least two fundamental concepts for the development of complex decorative cycles, namely order and spartimento.
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