Vasari and the Renaissance Print (Record no. 3327)

MARC details
000 -LEADER
fixed length control field 01856 a2200241 4500
001 - CONTROL NUMBER
control field 1138270334
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317100420.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042016GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781138270336
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 52.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code AB
Source thema
072 7# - SUBJECT CATEGORY CODE
Subject category code AB
Source bic
072 7# - SUBJECT CATEGORY CODE
Subject category code ART015000
Source bisac
072 7# - SUBJECT CATEGORY CODE
Subject category code ART016000
Source bisac
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Sharon Gregory
245 10 - TITLE STATEMENT
Title Vasari and the Renaissance Print
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20161006
300 ## - PHYSICAL DESCRIPTION
Extent 460 p
520 ## - SUMMARY, ETC.
Expansion of summary note Prints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari's history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari's reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement through which he hoped to increase his fame and attract influential patrons. She also explores how contributing illustrations for books by his scholarly friends, Vasari participated in the contemporary exchange of intellectual ideas and concerns shared by Renaissance humanists and artists.

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