Maniera, Music, and Vasari
It has long been understood that Giorgio Vasari, in his Lives of the Artists (1550; rev. ed. 1568), manipulated various biographical facts and ideas in his text for a singular purpose. Paul Barolsky and others have written extensively on Vasari's various motifs and recurring themes. This study...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sixteenth Century Journal Publishers, Inc.
1997
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| In: |
The sixteenth century journal
Year: 1997, Volume: 28, Issue: 1, Pages: 45-55 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | It has long been understood that Giorgio Vasari, in his Lives of the Artists (1550; rev. ed. 1568), manipulated various biographical facts and ideas in his text for a singular purpose. Paul Barolsky and others have written extensively on Vasari's various motifs and recurring themes. This study examines one theme, that of music, which has been neglected. Throughout Vasari's text the author manipulates the role of an artist's music ability and the use of musical terminology to validate the nobility of painting and to define bella maniera. Music making, for instance, can lead to an artist's downfall: Lappoli abandons painting to make music, often with his friend Parmigianino. At others times Vasari uses music as an illustration of moral virtue, as in the case of Garofalo, who was a good and virtuous man who could also make music. Similarly, Vasari can merely describe a painting in which angels play lutes or he might adapt the language of music to discuss painted color and its harmonious effects. |
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| ISSN: | 2326-0726 |
| Contains: | Enthalten in: The sixteenth century journal
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| Persistent identifiers: | DOI: 10.2307/2543222 |