Word: vasari
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...life, Michelangelo drew indefatigably-from models, from cadavers, from memory. Yet, according to his friend Giorgio Vasari, "so that no one should ever know the extent to which he had struggled to achieve perfection," Michelangelo burned nearly all the drawings he still owned just before his death...
...picturesque spaces, like an old Polish synagogue, that recent architecture has to offer. Nothing in this building could be called revivalist;, everything is quotation and proposition, exaggerated detail held in parentheses. Venturi seems to be expressing the same sort of relationship to the past that theorizing mannerist architects like Vasari, in the 16th century, had with Michelangelo's more heroic prototypes...
...Russell turns him into a florid cross between Kaiser Bill and Colonel Blimp, querulously posing in a drawing room on a white horse. Do such absurdities matter? Not if Russell's aim was slapstick parody. Yet, to judge from his publicity, Russell believes that his erratic mediation between Vasari and Groucho Marx tells some truth about the creative processes of his hero. But it does not, and so Gaudier-Brzeska joins the line of artists - Gauguin, Michelangelo, Van Gogh - whom the movies have turned into silhouettes of the romantic outsider...
...Many painters," the biographer Giorgio Vasari noted in 1550, "achieve in the first sketch of their work, as though guided by a sort of fire of inspiration, a certain measure of boldness: but afterwards, in finishing it, the boldness vanishes." The first sketch of which Vasari spoke was usually an oil sketch on relatively fragile paper or unprimed canvas. On it, the artist of the 16th, 17th and 18th centuries delineated his ideas, often in considerable detail, and submitted them to a patron for approval. The dash and daring all too often vanished when he transferred his design...
...bought by the St. Louis City Art Museum in 1943 as a Salviati (1510-63), then identified in 1951 as by Michele Tosini. But any number of other mid-16th century Italian painters have been mentioned as the artist, including Pontormo, Mirabello Cavalori, Jacopo del Conte and Vasari. At the moment, the museum displays it as attributed to Tosini, but no one is sure. Everyone agrees, however, that knowing who is portrayed in the picture would help. The painting's mood is mournful. It could be a posthumous portrait of Lorenzino de' Medici, an unhappy Florentine noble...