For Warhol, his persona was an artistic medium, no different from the more conventional forms (film, painting, sculpture, photography) he used in his art. Yet while he was trying to maximise the impact of his public persona in the spheres of art, popular culture and the market, he insisted on highlighting his imperfections, his personal neuroses and his claim to be ‘Nothingness Himself’. All these indexes are features, that facilitate using the book, and are still a model for today's art historical publications.

In New York, his social life epitomised the fashion of the time, and peaked with the decadence of such mythical clubs as Studio 54.I got the 4 volume set from the library and read the whole first volume, parts of the 2nd and 3rd and the pretty much all of volume 4 which was almost entirely about Michelangelo because Vasari was one of his BFF's.

Electroclash playlist put together by Susan Finlay at the launch of her book The Lives of the Artists. Cửa sổ nhôm Xingfa thường được trang bị các tính năng an toàn và bảo mật như khóa chốt và kính cường lực.but the language (or translation) is surprisingly fluent for a book almost 500 years old, and one shouldn’t forget that Vasari had almost no art history source to study from or professional methods of writing about art to follow. A rival artist, Torrigiano, later breaking his nose out of jealousy so badly it marked Michelangelo for life. The campaign to isolate and dismiss the importance of Warhol’s persona in terms of his overall artistic contribution is much more systematic in recent academic writing. Others are generic fictions, such as the tale of young Giotto painting a fly on the surface of a painting by Cimabue that the older master repeatedly tried to brush away, a genre tale that echoes anecdotes told of the Greek painter Apelles.

Sent to Florence at the age of sixteen by Cardinal Silvio Passerini, he joined the circle of Andrea del Sarto and his pupils, Rosso Fiorentino and Jacopo Pontormo, where his humanist education was encouraged. i just love to see ye olde man pop off at each other about pigment sourcing, sexual proclivities, and noble patrons. For more than half a century, Calvin Tomkins has brought readers breathtakingly close to the personalities, practices, ideas, and immediate environments of many of the most significant artists and creators of our time. I have only read about one of the artists--Perugino--whose later paintings are more to my liking for this period of mostly religious work. To mark his 25th birthday that same year, he printed a poster picturing himself with a hooker, with the banner title, ‘A Quarter of a Century as one of you, among you, with you’.Twisting the biblical reference to fit contemporary life, the Koons-Staller union embraced the supposed ‘sins’ of the market, brazenly shattering the expectation that artists should operate in a higher moral realm; it removed the money, power and celebrity that corrupts the rest of society.

Without my trusted friend Vasari,the beautiful art of Florence might have been one gorgeous ,but bewildering jumble. These volumes 1-3 talk of many of the great artists such as Donatello; Botticelli, Leonardo da Vinci, Giovanna Botista Rosso, Andrea del Sarto, and many many more. As one critic noted: ‘Kippenberger staged his public life because he thought he could bear it better in its mythologised form. Inspired by the great Vasari, Lives of the Artists, Lives of the Architects explores the meaning of art and artists today, their varying approaches to creating, and a sense of how their thinking evolves over time. I would have thought that such an opinion was enough to get one hung, drawn and quartered in Vasari's time, but apparently not so.Koons met the Eurotrash pop singer/porn star/member of the Italian parliament Ilona Staller (aka Cicciolina) in 1989 after having based the sculpture Fait d’Hiver (from the Banality series, 1988) on a found image of her body. Vasari's work was first published in 1550 by Lorenzo Torrentino in Florence, [5] and dedicated to Cosimo I de' Medici, Grand Duke of Tuscany. Through character sketches and anecdotes he depicts Piero di Cosimo shut away in his derelict house, living only to paint; Giulio Romano’s startling painting of Jove striking down the giants; and his friend Francesco Salviati, whose biography also tells us much about Vasari’s own early career.