Some art historians believe they were gathered to illustrate Vasari's Lives directly, as a visual index of the artists' works, whilst others believe it was a separate document in its own right. In his preface to the Lives, Vasari described his reasons for writing:
When I took on the task of writing about the life of the great artists ... I made a choice, which I have also explained, between what was good, what was better and what was perfect. I carefully pointed out the techniques, aspects, styles, particularities and fantasies of painters and sculptors. I also tried my best to reveal to those who did not succeed alone the causes and origins of different styles, and the ascending or descending curve followed by arts in different epoques and among different characters
No text reveals why Vasari compiled his collection of drawings, but it was probably to illustrate the styles of the different artists he wrote about and to show how he had divided them "into three parts, or rather let us call them periods, between the rebirth of the arts and our own time - each of these is distinguished from the others by manifest differences". The earliest drawing in the collection was by Cimabue and the latest dated to Vasari's own time. In the 1550 and 1568 editions of the Lives Vasari insisted on drawings as documents which allowed the viewer to perceive the maniera of the great masters of painting and mentioned when he owned one or two drawings by a particular artist, such as at the end of his life of Filippo Lippi:
("Fra Filippo drew very well, as one can see in my own Libro of the most famous painters, in the preparatory drawings for the altarpiece at Santo Spirito and the frescoes in the Prato chapel.") and in his life of Sandro Botticelli ("Sandro's drawings were of a totally unique excellence; and, after his death, more and more artists have been keen to have some of his drawings; and I myself, in my collection, have a few which were done with great care and judgement").
Giorgio Vasari was one of the founders of the Accademia delle Arti del Disegno set up in Florence by Cosimo I of Tuscany in 1563. He and the other founders wished to use this academy to promote artists above the status of artisans.[2][3] He was also a passionate collector of drawings and in his Libro he set them in his own paper frames and gathered drawings by one or more painters on a single sheet. In 1528 he received a collection of Lorenzo Ghiberti's drawings, as one of Ghiberti's descendants.[4]
After Vasari's death, the sheets of the Libro were initially bought in 1574 by the Florentine collector Niccolò Gaddi (1537-1591).[5] They were then sold by Gaddi's heirs before 18 May 1638, the date of death of Lorenzo Sabbatini, who had been put in charge of the Libro. They were then dispersed among the Medici, Arundel, Quesnel, Crozat and Mariette collections during the 17th and 18th centuries.
The first drawings from the Libro de' Disegni to enter the French national collection were bought by Everhard Jabach, probably when the Arundel collections were sold in 1646 and 1654 after his and his widow's deaths.[7] They then passed from Jabach into Louis XIV's drawings collection in 1671. Further sheets from the Libro were added when the French royal collection bought part of the collection of Mariette in 1755 and when Saint-Morys's collection was seized by the revolutionary government in 1793. These later additions may have originated in the sale of the Crozat collection, for which a catalogue survives. Part of the Mariette collection was sold to the royal collection in 1775. Other pages entered the French national collection from émigré goods seized by the revolutionary government and via gift and purchase.
Torso of a woman, without head and arms, seen full-face, possibly Venus Hercules, from behind, legs apart, holding his club Standing woman, facing the viewer, possibly Venus Torture with the estrapade Nude man lying on the ground, possibly a river god
Study for The Resurrection of Christ and murder scene Standing woman holding up her left arm : study for Achilles recognised among the daughters of Lycomedes Aeneas carrying his father Anchises on his shoulders Study of soldiers for The Resurrection of Christ Figures after the antique : guerriers, cupids driving chariots, Hercules Study for doctors of the law in Christ among the doctors
The Presentation of the Virgin in the Temple An angel crowning the Christ Child with thorns, adored by St Jerome and the Virgin Mary The Virgin and Child looking at an old man Prisoners kneeling before an enthroned king
Warrior and old man sitting holding a lyre, both seen from behind Standing figure, right profile Standing monk three-quarters face with joined hands Dinner in the house of Simon the Pharisee Michael the Archangel holding a sword and scales and trampling the dragon underfoot Draped woman, flying near a nude old man sleeping on a bed
Annunciation with God the Father and the Holy Spirit Adoration of the shepherds Virgin and Child enthroned with a papal saint and a priest-martyr Virgin and Child enthroned between Michael the Archangel and St John the Evangelist
Frieze : children playing with a wolf and a lioness, with the lioness breastfeeding one of them Frieze : children playing with a wolf and a lioness Frieze : Triumph of Ariadne Frieze : seven cupids on seahorses
Virgin and Child with Saints Stephen, Jerome, Antony the Great and George The Fall of Icarus A long-haired dog Female captive, seated in front of trophies Victory with trophies, writing on a shield David holding the head of Goliath
Hercules, facing the viewer, holding Cerberus in chains in his left hand Christ in the Temple among the Doctors St Peter, standing, three quarter profile, head facing the viewer The Wedding Feast at Cana
Warrior in classical dress, standing, facing the viewer, holding the shaft of a lance Kneeling St Jérôme with another monk or friar, possibly St Francis St John the Evangelist supported by an altar Male nude, facing the viewer Veiled female nude, turned to the right, surrounded by a niche
Virgin Mary with St Joseph, an angel and the sleeping Christ Child Saint Bibiana, standing, facing the viewer, leaning on a broken column Holy Family served by angels during the Flight into Egypt Three soldiers in classical dress, with their heads turned away Putti disarming Cupid sleeping in his chariot Nude child, facing the viewer, standing on a medallion, arms spread wide Nude child, crowned, seen from behind, held by another child's arm
Main et pieds Draped and seated man, writing Head of a bald bearded man, left profile Five studies of hands
Studies of arms and hands, with one hand holding a loaf of bread
Three studies of legs
Four studies of a left foot
Study of legs
Dragon devouring a snake Knight putting on his armour Profile head of a man
1678 Recto 1678 Verso 1679 1680 Recto 1680 Verso 1714
1714A
1714B
1714C
1714D
1724 1724.2 1726
Saint-Morys 1793 Saint-Morys 1793 Saint-Morys 1793 Saint-Morys 1793 Saint-Morys 1793 William II 1850 William II 1850 William II 1850 William II 1850 William II 1850 Jabach 1671 Jabach 1671 Jabach 1671
Three-quarter study of the head of a woman wearing a hair net Design for a funerary monument Nude seated child, body turned to the left Virgin and Child Nude seated child, holding its right leg.
Portrait of Louis II of Naples in profile wearing a cap and a crown Portrait of Manuel Chrysoloras, wearing a bonnet and holding a book Left profile of a man's head .
9849 9849 Bis RF 730 .
Saint-Morys 1793 Saint-Morys 1793 His de la Salle 1878
^Vasari stated that Giovanni Paolo dal Borgo worked with him from 1546 on the Palazzo della Cancelleria (Giorgio Vasari, Les Vies des meilleurs peintres, sculpteurs et architectes, Book X, p.273 in the edition edited by André Chastel), then in the service of pope Paul III.[8] Nothing else is known about him or his life, though Umberto Gnoli suggests he can be identified with Giovanni Paolo di Cola dal Borgo and that theory was supported by Ricci due to the journal of Berto Alberti,[9] which refers to the death of a painter named Giovanni Paolo del Colle on 19 September 1556. He was mentioned in the marriage register entry for his sister Lodovica di Francesco di Michelangelo dal Colle, dating to 29 November 1538 and showing he was born around 1518. A 1550 document published by Josephine von Henneberg links him to the decoration of the Parisiani chapel in San Marcello al Corso in Rome. He can also be seen assisting Vasari in painting the refectory of the Monteoliveto monastery in Naples, as cited in a 1545 letter from Vasari to Don Miniato Pitti.[10] Giovanni Paolo dal Borgo was one of the original painters of the Borgo San Sepolcro, known between 1542 and 1561 and a nephew of Raffaellino del Colle. Giovanni Paolo del Borgo was a member of Rome's guild of painters.[11]
^Serafino da Verona was probably Serafino Serafini (c. 1533, 1595/1605) who belonged to a family of painters from Verona. Most of his works are lost. He painted a fresco of The Virgin and Child with Saints Roch and Sebastian on one of the gates of Castelvecchio. He is also known to have produced a Crucifixion with Saints now held by the parish church in Zimella. Serafino da Verona is cited at the bottom of two pages from Vasari's Libro.[12]
References
^Per Bjurstrom, Italian Drawings from the Collection of Giorgio Vasari (Stockholm: Nationalmuseum, 2001)
^K. Barzman, The Florentine Accademia del Disegno : Liberal Education and the Renaissance Artist, p. 14-32, in A. Boschloo ed., Academies of Art Between Renaissance and Romanticism, Leid Kunsthistorisch Jaarboek, 1997
^Liana de Girolami Cheney, The Homes of Giorgio Vasari, p. 5-20, Peter Lang Publishing, New York, 2006 ISBN0-8204-7494-0(sample)
^Liana de Girolami Cheney, Giorgio Vasari's Teachers : Sacred & Profane Art, p.250, note 10, Peter Lang Publishing, New York, 2007 ISBN978-0-8204-8813-4(read online)
^Anna Forlani Tempesti, 'Giorgio Vasari e il Libro dei disegni. Museo cartaceo o Galleria portatile', in Maia Wellington Gahtan (ed.), Giorgio Vasari e la nascita del museo, Firenze, Edifir, 2012, pp. 35-49, SBN IT\ICCU\LIA\0958850.
^Catherine Monbeig-Goguel, Collections de Louis XIV, dessins, albums, manuscrits, p. 46
^(in Italian) Bernard Berenson, I disegni dei pittori fiorentini, Milano, Electa editr., 1961, SBN IT\ICCU\PUV\0037541, Volume 2, page 166.
^(in Italian) Anna Forlani Tempesti, 'Giorgio Vasari e il Libro dei disegni. Museo cartaceo o Galleria portatile', in Maia Wellington Gahtan (ed.), Giorgio Vasari e la nascita del museo, Firenze, Edifir, 2012, pp. 35-49, SBN IT\ICCU\LIA\0958850.
^(in Italian) Anna Forlani Tempesti, 'Giorgio Vasari e il Libro dei disegni. Museo cartaceo o Galleria portatile', in Maia Wellington Gahtan (ed.), Giorgio Vasari e la nascita del museo, Firenze, Edifir, 2012, pp. 35-49, SBN IT\ICCU\LIA\0958850.
^(in Italian) Bernard Berenson, I disegni dei pittori fiorentini, Milano, Electa editr., 1961, SBN IT\ICCU\PUV\0037541., volume 2, page 446
^(in Italian) Bernard Berenson, I disegni dei pittori fiorentini, Milano, Electa editr., 1961, SBN IT\ICCU\PUV\0037541., volume 2, page 425
Bibliography
Otto Kurz, Giorgio Vasari's Libro de'Disegni, Old Masters Drawings, 1937
Arthur Ewart Popham, Drawings from the collection of Giorgio Vasari, p. 153-155, British Museum Quarterly, 1936
Per Bjurstrom, Italian Drawings from the Collection of Giorgio Vasari, National Museum, Stockholm, 2001 ISBN9789171006264
Andrew Morrogh, Vasari's Libro de' Disegni and Niccolò Gaddi's Collection of Drawings: The Work of Gaddi's "Chief Framer", conference paper at the RSA Annual Meeting, New York, NY, Hilton New York, 2014
(in French) Stéfania Caliandro, Le Libro de' Disegni de Giorgio Vasari: un métatexte visuel, Presses universitaires de l'université de Limoges, 1999 ISBN2-84287-128-6Sample
(in French) Giorgio Vasari, Les vies des meilleurs peintres, sculpteurs et architectes, édition commentée sous la direction d'André Chastel, Du texte à l'image. Dessins du "Libro", Berger-Levrault, Paris, 1989 ISBN978-2-701307541
(in French) Catherine Monbeig-Goguel, Giorgio Vasari : Dessinateur et collectionneur, XXXVIe exposition du Cabinet des dessins du musée du Louvre, Réunion des musées nationaux, Paris, 1965
(in French) Catherine Monbeig Goguel, Dessins italiens au musée du Louvre, deuxième moitié du XVIe siècle (artistes nés après 1500 et morts avant 1580). Vasari et son temps, Éditions des Musées nationaux, Paris, 1972 ISBN978-2-711800124, présentation du livre : p. 823-824, École pratique des hautes études. 4e, Sciences historiques et philologiques, année 1972 (read online)
(in French) Catherine Monbeig Goguel, Le dessin encadré, p. 25-31, Revue de l'Art, année 1987, No. 76 (online)
(in French) Alphonse Wyatt, Le Libro dei Disegni de Vasari, p. 339-351, Gazette des beaux-arts, octobre-novembre-décembre 1859 (online)
(in Italian) Licia Ragghianti Collobi, Il Libro de' Disegni del Vasari, Vallecchi, Florence, 1996 ISBN9788825200188
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