Vasari Nf Font Free Download
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The pattern for this font was found in the 1906 specimen book for the Keystone Type Foundry under the name Ancient Gothic, which is a pretty accurate description of the particular appeal of this typeface. Use it liberally anytime you want to add an air of mystery or menace...or simply some quaint charm. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.
Vasari's art and architecture are eclipsed, however, by his work as a writer. His monumental Lives (commonly known as Lives of the Artists ), was first published in Florence in 1550 and was reprinted in a much revised and amplified version in 1568. Composed as a series of biographies, Vasari's book is a history of the progress of art, after its "rebirth," from Cimabue to the perfection of Michelangelo. Considered to be the first "history of art" as such, the Lives powerfully shaped the emergence of art history as a scholarly discipline in the modern era. Vasari's book is also a rich source of information about Renaissance artists and the world in which they worked. It is a valuable font concerning the theory, practice, criticism, and techniques of art.
Given the vast amount of attention Vasari's writing has received, what is still underestimated at this late date is the status of Vasari's book as an enduring masterpiece of imaginative literature and of historical art. Literary scholars have been insufficiently attentive to Vasari's relations to Homer, Ovid, and Virgil, to Dante, Petrarch, and Giovanni Boccaccio, to Politian, Marsilio Ficino, and Ludovico Ariosto, to Baldassare Castiglione, Pietro Bembo, and Pietro Aretino, and art historians are totally indifferent, if not hostile, to the literary virtues of the Lives.
The blind reading of Vasari, which talks around the fiction of his book or refers to it only as "poetic embellishment" when it is far more than that, is based on the misguided belief that history is an accumulation of facts when it is, in fact, shaped or formed, hence "fictive" in the root sense of the word. Fiction in Vasari is inevitably written in the service of the historical truth. Vasari reports, for example, that Piero di Cosimo was a "wild man," a fiction that is true to the character of the artist's primitive subjects, which are the inventions of a highly cultivated artist. The power of Vasari's fiction is so great that even modern scientific art historians have imagined him as a kind of caveman. Although Piero becomes a fictional character in the pages of Vasari, he is obviously not an invented character. Rather, he is a real person whose life is poetically imagined.
The poetry of Vasari endures in the modern fable of art, in Honor de Balzac's The Unknown Masterpiece, the tale of a painter whose inability to complete a masterpiece echoes Vasari's portrayal of Leonardo's unfinished work. Vasari is alive in Robert Browning's poems on Fra Filippo Lippi and Andrea del Sarto, and in George Eliot's portrayal of Piero di Cosimo in Romola. The extent of Vasari's influence on the modern imagination is far greater than the provincial historiography of art history allows. Vasari's book is a classic of world literature in which the mythologized Piero di Cosimo, Leonardo, Raphael, and Michelangelo are characters of historical fiction who take their place as the subjects of history and the modern novel alike. Vasari often appropriated materials from other writers, far more than is generally realized; but, in the end, he was the superintending intelligence responsible for the making of a great literary and historical masterpiece, which will forever remain "Vasari's Lives. "
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Artistic Models. The goal of his book was to raise the status of the artist and establish Tuscany as an artistic center of excellence. The first edition traced the history of art through the individual biographies of artists from antiquity to Michelangelo. Based upon a model of historical progress, his biological cycle of the arts creates three stages of development: childhood, youth, and a golden age. This model precluded emphasis on social and political circumstances related to artistic production. The assessment of quality, style, patronage, sources, and documentation was the criteria for evaluation of art. Vasari's personal collection of drawings, the Libro di disegni, provided some of the evidence he used to judge the excellence of individual artists or their place within the stages of development.
Giorgio Vasari (1511-1570) was an Italian painter, architect, and author of "The Lives of the Most Celebrated Painters, Sculptors, and Architects." His book is the foundation of modern art historiography and the prototype for all biographies of artists.
Giorgio Vasari was born on July 30, 1511, in Arezzo. According to his own account, he was apprenticed as a boy to Andrea del Sarto in Florence. He apparently suffered at the hands of Andrea's wife, to judge from the waspish references to her in his life of Andrea. Vasari's career is well documented, the fullest source of information being the autobiography added to the 1568 edition of his Lives.
Vasari had an extremely active career, but much of his time was spent as an impresario devising decorations for courtly festivals and similar ephemera. He fulsomely praised the Medici family for forwarding his career from childhood, and much of his work was done for Cosimo I, Grand Duke of Tuscany. Vasari was a prolific painter in the mannerist style and was also active as an architect, his talents in the latter profession being superior to those he displayed as a painter. He supervised the building of Pope Julius III's Villa Giulia near Rome, but his masterpiece is the reconstruction of the Uffizi picture gallery in Florence (from 1560), originally the offices of the grandducal administration.
Vasari's Lives was published in Florence in 1550; it was revised and enlarged in 1568. He venerated Michelangelo to the point of idolatry. In the latter years of Michelangelo's life Vasari came to know him quite well, and for this reason the two versions of his biography of Michelangelo are of the greatest importance as a contemporary assessment.
The tradition of such biographies goes back to antiquity; technical treatises on the arts were also written inclassical times, Pliny the Elder and Vitruvius having produced two celebrated examples. As early as the time of Lorenzo Ghiberti there had been an attempt to imitate classical prototypes by writing on earlier and contemporary artists, and Ghiberti, in his Commentaries (ca. 1447-1455), also wrote the earliest autobiography by a modern artist.
During the late 15th and early 16th centuries similar treatises were projected and written, and Vasari knew and used some of these earlier works. What distinguishes the first edition of his Lives is the fact that it is far fuller (and better written) than any of its predecessors or potential rivals. As Vasari says himself, he wrote as an artist for other artists, with knowledge of technical matters.
Vasari took great care to gather material on his numerous journeys, and, more than any of his predecessors, he looked at works of art. On the other hand, his reverence for factual truth was less than would be required of a modern historian, and he was unable to resist an amusing anecdote. This gives his book a liveliness and directness which has ensured its continued popularity independent of its historical importance.
In 1568 Vasari produced a second edition, much larger than the original and containing a great many alterations, particularly in the earlier lives. It also has many new biographies of living (or recently dead) artists, so it is an essential source for Vasari's contemporaries. He gives more space to non-Florentine artists and even mentions one or two non-Italians.
The most important changes are in the life of Michelangelo, who had died in 1564. Part of the revision of Vasari's earlier life was occasioned by the publication, in 1553, of the Life of Michelangelo, written by Ascanio Condivi, a pupil of Michelangelo, and probably partly dictated by the master. The versions by Vasari and Condivi give us, therefore, a unique contemporary picture of the life and works of the greatest Italian artist of the age.
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