000			01856 a2200241 4500
001			1138270334
005			20250317100420.0
008			250312042016GB eng
020			_a9781138270336
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aAB _2thema
072	7		_aAB _2bic
072	7		_aART015000 _2bisac
072	7		_aART016000 _2bisac
100	1		_aSharon Gregory
245	1	0	_aVasari and the Renaissance Print
250			_a1
260			_aOxford _bRoutledge _c20161006
300			_a460 p
520			_bPrints 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.
999			_c3327 _d3327