Toutes peintures ā l'huile d'VASARI, Giorgio
Choice ID Image  Painting (From A to Z)       Details 
9437 Allegory of the Immaculate Conception er  Allegory of the Immaculate Conception er   1541 Oil on wood, 58 x 39 cm Galleria degli Uffizi, Florence
62306 Monument to  Monument to   560 x 330 mm - By the mid 1660s Vald?s began to work as a decorative painter. The most spectacular of his decorative works was executed in 1671 for the celebration of the canonization of St Ferdinand of Castile (1199-1252). A monument, made of wood and decorated with paintings and sculpture, was designed and decorated by Vald?s. The structure was later dismantled, its appearance is preserved in a large print produced by Vald?s himself
9439 Monument to Michelangelo ar  Monument to Michelangelo ar   1570 Marble Santa Croce, Florence
9438 Portrait of Lorenzo the Magnificent wr  Portrait of Lorenzo the Magnificent wr   Oil on wood, 90 x 72 cm Galleria degli Uffizi, Florence
9441 Self-portrait (detail) et  Self-portrait (detail) et   Oil on canvas Galleria degli Uffizi, Florence
20315 The Annunciation (mk05)  The Annunciation (mk05)   Wood,85 x 65 1/4''(216 x 166 cm)From a church in Arezzo 1813;entered the Louvre in 1814 INV
45415 The festival meal in Ester  The festival meal in Ester   mk186 around 1548 Arezzo Museo Statale di types Medievale e Moderna
9440 The Nativity wt  The Nativity wt   c. 1546 Oil on canvas Galleria Borghese, Rome
9436 The Prophet Elisha er  The Prophet Elisha er   c. 1566 Tempera on wood, 40 x 29 cm Galleria degli Uffizi, Florence
VASARI, Giorgio
Italian Mannerist Writer and Painter, 1511-1574 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.



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