Neoplatonic Aesthetics: Music, Literature, and the Visual Arts explores the idea of a Neoplatonic aesthetic, a philosophy of the arts based on the writings of Plato and the Neoplatonists – principally Plotinus, Proclus, Pseudo-Dionysius, Nicolas Cusanus, and Marsilio Ficino – and more contemporary philosophers – Stephen MacKenna, Iris Murdoch, Denman Ross, Jacques Derrida, and Hans Georg Gadamer. This book examines the artistic production of figures such as Gioseffe Zarlino, Fra Angelico, Leon Battista Alberti, Sandro Botticelli, Michelangelo, and Giorgio Vasari, and it formulates theoretical approaches to contemporary production based in the Neoplatonic philosophies.

Giorgio Vasari was one of the few artists in the history of art who built, designed, and decorated his homes. This book is the first to focus on Vasari’s decorative cycles for his homes in Arezzo and Florence, revealing the significance of the artistic, cultural, and historical milieu of the sixteenth century. This study breaks new ground in two ways: First, in a personal and original manner, the imagery is related to Vasari’s artistic ideas on history painting and the role of the artist. And second, Vasari’s imagery portrays visual galleries applauding his teachers, antiquity and the creation of art.

Giorgio Vasari’s Prefaces: Art and Theory provides students and scholars alike with the opportunity to study and understand the art, theory, and visual culture of Giorgio Vasari and sixteenth century Italy. For the first time all of Vasari’s Prefaces from the Lives of the Artists (1568) are included translated into English as well as in the original Italian. Also included is an English translation of Giovanni Battista Adriani’s letter to Giorgio Vasari enlightening Vasari on the art of the ancient masters.Through the eyes of Vasari, this book captures the creative achievements of his fellow artists – how they adopt nature and the classical tradition as their muses and how they ingeniously interpret the secular and religious themes of the past and present. Vasari himself is lauded for the transformation of the artist from one of being a mere laborer to one who imbues his work with intellectual depth and is recognized as a creator of beautiful visual myths.

This book focuses on Sir Edward Burne-Jones’ mythical paintings from 1868 to 1886. His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. This book analyzes two main concepts: Burne-Jones’ assimilation of Neoplatonic ideal beauty as depicted in his solo and narrative paintings, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.

This book examines the artistic, cultural, and historical influence of Giorgio Vasari’s teachers, mentors, and patrons on his sacred and profane paintings. As a Maniera artist, Vasari learns to admire and assimilate the art of the ancient masters. With the guidance of Dante’s literary writings and Marsilio Ficino’s Neoplatonic philosophy, Vasari reveals a moral and didactic vision in his art. Additionally, Vasari’s artistic patronage is influenced by the political views of Niccolò Machiavelli. In the integration of both ancient art and myths with the didactic legacy of biblical figures and moral personifications, Vasari manifests his artistic theory and symbolism in his sacred and profane paintings.

Lo scopo di questa ricerca e di posizionare i dipinti della Casa Vasari e della Sala Vasari entro lo sviluppo di Vasari come artista della Maniera e anche per dimostrare il modo in cui i suddetti dipinti hanno esemplificato lo stile della Maniera. L'intento e anche quello di decifrare l'iconografia figurativa o il simbolismo emblematico nel contesto culturale e filosofico del loro tempo e anche di considerare le idee del Vasari sull'estetico e l'arte, specialmente in relazione con i suoi lavori nella Casa Vasari e nella Sala Vasari.

Neoplatonic Aesthetics: Music, Literature, and the Visual Arts explores the idea of a Neoplatonic aesthetic, a philosophy of the arts based on the writings of Plato and the Neoplatonists – principally Plotinus, Proclus, Pseudo-Dionysius, Nicolas Cusanus, and Marsilio Ficino – and more contemporary philosophers – Stephen MacKenna, Iris Murdoch, Denman Ross, Jacques Derrida, and Hans Georg Gadamer. This book examines the artistic production of figures such as Gioseffe Zarlino, Fra Angelico, Leon Battista Alberti, Sandro Botticelli, Michelangelo, and Giorgio Vasari, and it formulates theoretical approaches to contemporary production based in the Neoplatonic philosophies.

Giorgio Vasari was one of the few artists in the history of art who built, designed, and decorated his homes. This book is the first to focus on Vasari’s decorative cycles for his homes in Arezzo and Florence, revealing the significance of the artistic, cultural, and historical milieu of the sixteenth century. This study breaks new ground in two ways: First, in a personal and original manner, the imagery is related to Vasari’s artistic ideas on history painting and the role of the artist. And second, Vasari’s imagery portrays visual galleries applauding his teachers, antiquity and the creation of art.

Giorgio Vasari’s Prefaces: Art and Theory provides students and scholars alike with the opportunity to study and understand the art, theory, and visual culture of Giorgio Vasari and sixteenth century Italy. For the first time all of Vasari’s Prefaces from the Lives of the Artists (1568) are included translated into English as well as in the original Italian. Also included is an English translation of Giovanni Battista Adriani’s letter to Giorgio Vasari enlightening Vasari on the art of the ancient masters.Through the eyes of Vasari, this book captures the creative achievements of his fellow artists – how they adopt nature and the classical tradition as their muses and how they ingeniously interpret the secular and religious themes of the past and present. Vasari himself is lauded for the transformation of the artist from one of being a mere laborer to one who imbues his work with intellectual depth and is recognized as a creator of beautiful visual myths.

This book focuses on Sir Edward Burne-Jones’ mythical paintings from 1868 to 1886. His artistic training and traveling experiences, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility provided the background for these mythical paintings. This book analyzes two main concepts: Burne-Jones’ assimilation of Neoplatonic ideal beauty as depicted in his solo and narrative paintings, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.

This book examines the artistic, cultural, and historical influence of Giorgio Vasari’s teachers, mentors, and patrons on his sacred and profane paintings. As a Maniera artist, Vasari learns to admire and assimilate the art of the ancient masters. With the guidance of Dante’s literary writings and Marsilio Ficino’s Neoplatonic philosophy, Vasari reveals a moral and didactic vision in his art. Additionally, Vasari’s artistic patronage is influenced by the political views of Niccolò Machiavelli. In the integration of both ancient art and myths with the didactic legacy of biblical figures and moral personifications, Vasari manifests his artistic theory and symbolism in his sacred and profane paintings.

Lo scopo di questa ricerca e di posizionare i dipinti della Casa Vasari e della Sala Vasari entro lo sviluppo di Vasari come artista della Maniera e anche per dimostrare il modo in cui i suddetti dipinti hanno esemplificato lo stile della Maniera. L'intento e anche quello di decifrare l'iconografia figurativa o il simbolismo emblematico nel contesto culturale e filosofico del loro tempo e anche di considerare le idee del Vasari sull'estetico e l'arte, specialmente in relazione con i suoi lavori nella Casa Vasari e nella Sala Vasari.