Podcasts about Giorgio Vasari

La arquitectura gótica es la forma artística sobre la que se formó la definición del arte gótico, el estilo artístico comprendido entre el románico y el Renacimiento, que se desarrolló en Europa Occidental —cristiandad latina— en la Baja Edad Media, desde finales del siglo XIIhasta el siglo XV, aunque más allá de Italia las pervivencias góticas continuaron hasta los comienzos del siglo XVI. El vocablo «gótico» es el adjetivo correspondiente a godo y fue utilizado en este contexto por primera vez por el tratadista italiano Giorgio Vasari (1511-1574), quien en su famosa obra de biografías de pintores toscanos incluye varios capítulos sobre el arte en la Edad Media. En sentido peyorativo, usó este término para denominar la arquitectura anterior al Renacimiento, propia de los bárbaros o godos, cuyos componentes le parecían confusos, desordenados y poco dignos, por contraste a la perfección y racionalidad del arte clásico. En su propia época, se solía denominar como opus francigenum (estilo francés), por referencia al origen de la innovación. Paradójicamente, en la España del siglo XVI se calificaba al gótico final (isabelino o plateresco) como la forma de construir a lo moderno, mientras que la arquitectura clasicista que introducía el renacimiento italiano era vista como una forma de construir a la antigua o a lo romano

Leitura Bíblica Do Dia: Ezequiel 37:4-14 Plano De Leitura Anual: 2 Crônicas 10–12; João 11:30-57 Já fez seu devocional hoje? Aproveite e marque um amigo para fazer junto com você! Confira: Em novembro de 1966, uma enchente desastrosa varreu Florença, na Itália, submergindo por mais de 12 horas a renomada obra de Giorgio Vasari, A Última Ceia, numa mistura de lama, água e óleo quente. Com sua tinta amolecida e a moldura de madeira muito danificada, pensava-se que seria impossível restaurar a peça. Entretanto, após um lento e difícil restauro que durou 50 anos, os especialistas e voluntários conseguiram o feito notável de restaurar a valiosa pintura. Quando os babilônios conquistaram Israel, o povo ficou sem esperança, cercado pela morte e destruição, precisando de restauração (LAMENTAÇÕES 1). Nessa fase turbulenta, Deus levou Ezequiel a um vale e mostrou-lhe uma visão em que havia muitos ossos secos. “Filho do homem, acaso estes ossos podem voltar a viver?", Deus perguntou. Ezequiel respondeu: “Ó Senhor Soberano, só tu o sabes” (EZEQUIEL 37:3). O Senhor ordenou-lhe que profetizasse que os ossos viveriam e, “enquanto [Ezequiel] profetizava, ouviu-se em todo o vale o barulho de ossos batendo uns contra os outros, e os ossos de cada corpo estavam se juntando” (v.7). Deus revelou nessa visão que a restauração de Israel só poderia vir por intermédio do Senhor. Mesmo que o dano pareça irreparável, Deus pode reconstruir- -nos a partir dos nossos pedaços Ele nos dará novo fôlego e nova vida. Por: KIMYA LODER

La “Mona Lisa” es probablemente la pintura más famosa del mundo. Pero, ¿quién es la mujer retratada por Leonardo da Vinci? Hay dos teorías distintas sobre la identidad de la misteriosa joven. ¿Se resolverá algún día el enigma? Millones de visitantes admiran el retrato exhibido en el legendario Louvre de París. Pero, ¿qué hace que la “Mona Lisa” sea tan especial? ¿Quién se esconde detrás de esta cara sonriente y al mismo tiempo triste? ¿Quién fue la modelo de Leonardo? ¿O se trata sencillamente de un ideal de belleza? Los expertos llevan siglos dirimiendo esta cuestión. Parece haber evidencias para dos teorías. Ambas se han transmitido por escrito, pero son incompatibles entre sí. La tesis más reconocida se adjudica al biógrafo Giorgio Vasari. La mujer retratada sería Lisa del Giocondo, la esposa del comerciante de seda florentino Francesco del Giocondo quien encargó el trabajo a Leonardo en 1503. Esta tesis se contradice con una nota del cronista Antonio de Beatis de 1517, según la cual Leonardo da Vinci habría realizado la pintura a pedido de Giuliano de 'Medici, una imagen imaginaria de Pacífica Brandani, la amante de Giuliano de' Medici con quien tuvo un hijo extramatrimonial. Ambas versiones tienen sus seguidores en la investigación actual que se hace de Leonardo. Este documental se sumerge en la época de Leonardo da Vinci con elaboradas recreaciones, filmaciones en ubicaciones originales y metodología científica.

L'une des caractéristiques du personnage d'Élisée est le nombre de ses prodiges et ses actes divinatoires. Quel est le sens et but poursuivit dans ce chapelet de miracles décrits ?  NOTES ·        Textes (aelf) :  2R 4, 1-7 Abondance d'huile  ;  4, 38-41 Assainissement du potage ;  4, 42-44 Multiplication des pains  ; 6, 1-7 Flottaison du fer de hache  ·        BIBLIOGRAPHIE | CARTES & DOCUMENTS | CHRONOLOGIE·        Plateformes d'écoute | Réseaux Sociaux | @Contact | Infolettre | RSS  ·        Épisode enregistré en Vendée (85, France), 05/2025. Image de couverture : Giorgio VASARI, Le prophète Élisée, v. 1566 (source : Wikimédia commons). Génériques : Erwan Marchand (D.R.). «Au Large Biblique» : podcast conçu et animé par François Bessonnet, bibliste.Sous Licence Creative Commons (cc BY-NC-ND 4.0 FR)Soutenez le podcast avec Tipeee  ou Ko-fi  CHAPITRES 00:00 Générique et présentation 02:00 (1) Trois types de prodiges 05:40 (2) Auprès des fils de prophètes 07:30 (3) Huile et potage 14:40 (4) Pain et fer de hache 22:10 (5) Conclusion 24:46 Générique de fin

In this episode, Kimberly and Tommaso explore Arezzo, a Tuscan village offering a blend of history and culture. They share insights on its art, architecture, and the stories behind its famous figures. Key Points: Discovering Arezzo: Arezzo is southeast of Florence, accessible by a one-hour drive or a 36-minute direct train. The city is walkable and rich with historical architecture influenced by the Medici family. Piazza Grande stands out with its trapezoidal shape and diverse facades from various eras. Navigating Arezzo: Corso Italia, the main street, evolves from commercial storefronts to upscale gourmet shops. Piazza Grande, initially filled with Christmas stalls, reveals stunning architecture. Arezzo's Famous Figures: Guido da Arezzo invented the system of musical notation and solfege. Giorgio Vasari, a painter, architect, and art historian, is known as the father of art history. Vasari designed the Palazzo Loggia in Piazza Grande, enhancing its dramatic appeal. Memorable Experiences: Projection mapping on buildings during the Christmas season creates a mesmerizing display. Enjoying scotch at an outdoor cafe with a view of the illuminated Piazza Grande. Visiting Parco Il Prato with its unique trees and views of the Tuscan Valley. Unexpected Encounters: A scolding for entering the Fortezza di Medicea during the lunch hour. Discovering a chocolate festival in Parco Il Prato with handmade chocolate from the region. Architectural and Artistic Highlights: Churches in Arezzo showcase impressive architecture and historical significance. The Palazzo della Fraternità offers rooftop views of Piazza Grande. The local library preserves ancient walls, creating a blend of old and new. Final Thoughts: Arezzo offers a rewarding experience for those seeking history, architecture, and art. Staying overnight is recommended to fully the atmosphere, especially around Piazza Grande.

On this episode, we were joined by Laurent Binet, the Prix Goncourt-winning author of HHHH, to discuss his new novel, Perspectives—a murder mystery set in Renaissance Florence, where Giorgio Vasari (possibly the world's first art critic) is tasked with finding the killer of one of the city's most prominent painters.Like much of Binet's previous work, the novel is a historical counterfactual: the period's mise-en-scène is precisely rendered, but the story he tells is playful and inventive."Playful" is also a word that can be used to describe Binet himself. As a guest, he's funny, laid-back, and happy to go down the rabbit hole with us as we discuss everything from Proust to Philip Marlowe, Simenon to Stanley Kubrick.

È stato riaperto al pubblico dopo otto anni il Corridoio Vasariano di Firenze, il tunnel aereo realizzato cinque secoli fa sopra il cuore del centro cittadino dall'architetto Giorgio Vasari per volere di Cosimo I de' Medici.Nel 2016 questa meraviglia architettonica annessa alla Galleria degli Uffizi e ammirata in tutto il mondo era stata chiusa per consentire l'adeguamento alle norme di sicurezza e per essere sottoposta a un accurato restauro. Dopo i lavori il Corridoio Vasariano è stato riportato al suo stato originale, ovvero alla sua nudità rinascimentale, una dimensione che consente al visitatore di apprezzare appieno la monumentalità della sua struttura architettonica. Alcuni secoli dopo la sua realizzazione il camminamento sopraelevato sull'Arno era stato infatti convertito in una sorta di appendice museale della Galleria degli Uffizi con decine di opere d'arte esposte sulle sue pareti. Ci hanno accompagnato nella visita di questo capolavoro rinascimentale Simona Pasquinucci, responsabile della divisione curatoriale degli Uffizi e l'architetto Francesca Funis, autrice di un recente studio storico approfondito sul capolavoro di Giorgio Vasari.

A meditation preached by Fr. Eric Nicolai on October 18, 2024 at Lyncroft Centre in Toronto. Luke the Evangelist was born a Greek and a Gentile from Antioch in Syria. Luke is symbolised by the ox, a symbol of strength and of sacrifice. But also Luke wanted to preserve the face of Mary for us. He is the painter of Mary: Tradition says he produced the first devotional icons of the mother of God. He preserved her yes to her vocation. He'll help preserve our yes to the vocation to Opus Dei. Music: Carlos Gardel (1890-1935), Soledad, arranged for guitar by Bert Alink. Thumbnail: Luke Painting the Virgin, by Giorgio Vasari 1565 Basilica della Santissima Annunziata, Florence.

A partire dal Quattrocento in Italia si sviluppa una ricchissima stagione letteraria, artistica, filosofica e scientifica che prenderà il nome di Rinascimento. Fu già il famoso biografo degli artisti Giorgio Vasari a parlare per la prima volta di “rinascita” per riferirsi alle novità artistiche introdotte da Cimabue prima e Giotto poi e che andavano a segnare un cambio di passo importante rispetto al Medioevo (chiamato anche “età di mezzo”) che aveva segnato un periodo oscuro rispetto alla grandezza della classicità. Il termine “Rinascimento” vero e proprio però arriva molto più tardi e si sviluppa a partire dalla pubblicazione nel 1860 di un saggio dello studioso svizzero Jacob Burckhardt dal titolo La civiltà del Rinascimento in Italia. Hosted on Acast. See acast.com/privacy for more information.

Send us a Text Message.The early 1400's in Italy saw the transition from the Gothic to the Renaissance style in painting. In major areas of patronage, be it for churches or wealthy patrons, a new style flourished that was representative of the interconnectivity between European cultures and the wider Mediterranean, one that bridges the Gothic and Renaissance styles - the International Gothic. Looking at two masterworks, one from Lorenzo Monaco and one from Gentile da Fabriano, this episode examines the historical moment and the stylistic factors that unify and separate the Gothic and International Gothic in Italy. Further, through Giorgio Vasari, we can look at how historical shifts in artistic style were perceived by later Renaissance writers, who looked to organize the trajectory of Italian art as a series of quantifiable improvements. These two artists help us bridge the end of the medieval period with the developments that will become Renaissance art. Works discussed:  Lorenzo Monaco, Coronation of the Virgin - https://www.uffizi.it/en/artworks/coronation-of-the-virginGentile da Fabriano, Adoration of the Magi - https://www.uffizi.it/en/artworks/adoration-of-the-magiInstagram: italian_renaissance_podcast Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the Show.

Die Lebensbeschreibungen berühmter Künstler, die Giorgio Vasari verfasste, gelten als Beginn der Kunstgeschichtsschreibung. Vasari verwendet darin erstmals den Epochenbegriff der Renaissance. Vor 450 Jahren ist Giorgio Vasari gestorben. Oelze, Sabine www.deutschlandfunk.de, Kalenderblatt

Hoy nadie se cuestionaría, por ejemplo, que a un músico hay que pagarle por su trabajo. Taylor Swift, Ed Sheeran o Rosalía congregan en sus conciertos a cientos de miles de personas que previamente han pagado una entrada seguramente muy cara. Esto es aplicable a intérpretes menos exitosos e incluso a los músicos que tocan en la calle, en el metro o en un parque. Muchos viandantes les dejan monedas o adquieren allí mismo una grabación suya. Esto no es cosa de ahora. Vivir de la música es algo que hunde sus raíces en la noche de los tiempos. Está documentado que ya en la corte de Carlomagno había músicos profesionales y seguramente los hubo antes. No deberíamos sorprendernos por ello. La música, no sólo es un arte, es un mercado y se comporta como tal. Hoy los fans de Rosalía pagan por disfrutar de sus canciones y, a veces, para señalizarse socialmente. Hace un milenio reyes y señores principales se encargaban de mantener a músicos para que cantasen a Dios algo fundamental en la liturgia cristiana si se quería salvar el alma. Esta tendencia se mantuvo en los siglos siguientes. En el Renacimiento y el Barroco los monarcas europeos competían entre ellos para hacerse con los servicios de los mejores compositores e intérpretes. Con la revolución industrial y la emergencia de la burguesía las obras musicales fueron más demandadas que nunca. Los ricos organizaban recitales privados en sus palacetes, y se levantaron por las principales capitales europeas grandes teatros de la ópera a cuyos estrenos acudían miles de personas pagando por ello sumas elevadas de dinero. Todo esto no es un secreto para nadie. En el mundo contemporáneo tenemos asumido que la música tiene un precio y estamos encantados de satisfacerlo. Entonces ¿en qué momento decidimos que otras bellas artes estaban fuera de las leyes del mercado y no hay que pagar por ellas? Esto es especialmente aplicable a museos, exposiciones y monumentos que muchos exigen que sean de libre entrada porque se trata de cultura y, por lo tanto, tiene que ser accesible a todos. El arte, en definitiva, necesita mecenazgo. El término proviene de un patricio romano llamado Cayo Mecenas, un consejero muy cercano a Octavio Augusto que ha pasado a la historia por financiar, aparentemente de forma desinteresada, a poetas y escritores como Horacio y Virgilio. ¿Realmente Mecenas lo hacía de forma desinteresada? Obviamente no. Ni Cayo Mecenas, ni los príncipes renacentistas, ni los monarcas dieciochescos, ni los millonarios de nuestro tiempo financian el arte de forma desinteresada. Cada uno lo hace por una razón distinta, pero no es por amor a la belleza o a la humanidad. Unos buscan prestigio, otros borrar el cuestionable pasado de su familia, otros persuadir al pueblo de que son grandes personas. El arte, como decía, es un mercado al que concurren ofertantes y demandantes. Entre ambos media un precio que acuerdan las dos partes. Esa es la razón por la que se siguen produciendo obras de arte. Hoy, de hecho, hay más arte que nunca por somos muchos los que concurrimos a ese mercado. En nuestro mundo todos, prácticamente sin excepción, somos mecenas. Entendemos que las obras artísticas son productos y pagamos, a menudo con gran entusiasmo, por disfrutar de ellas. Hoy en La ContraHistoria vamos a hablar Alberto Garín y yo de esto mismo. Vamos a echar un vistazo poco convencional sobre la historia de arte en un programa que estamos haciendo en directo y con público gracias a la invitación de la Value School de Madrid. Espero que tanto a los presentes en la sala como los que estáis escuchando a través de los medios habituales disfrutéis de él. Bibliografía: - "Historia irreverente del arte" de Alberto Garín - https://amzn.to/3wwL31N - "Las vidas" de Giorgio Vasari - https://amzn.to/4bqHeK8 - "Arte. Toda la historia" de Stephen Farthing - https://amzn.to/4b8pGCR - "La historia del arte" de E.H. Gombrich - https://amzn.to/44wz2WN · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #albertogarin #historiadelarte Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

One of the world's great museums of Renaissance art: the Uffizi.  Meaning "the offices," the Uffizi were quite literally built as an office buidling for the growing administration of Cosimo I de' Medici, the first Grand Duke of Tuscany, the leader who brought authoritarian rule, if also stablity, to Florence. Bry Rayburn from the Pontifacts podcast, joins me once again to talk about Cosimo, her historic bae, the great museum, and the rest of his legacy. We also talk about our old friend Giorgio Vasari, author, artist and architect, a true Renaissance man. And of course, ribollita, that classic Tuscan white bean stew! 

Tra le ‘Vite' di Giorgio Vasari (1550) e quelle di Giovanni Battista Bellori (1672) si inserisce l'opera di catalogazione di Giovanni Baglione (1642) che raccoglie centinaia di biografie di pittori, scultori e architetti che hanno operato a Roma tra il Cinquecento e il Seicento. Pur mancando della visione storiografica di Vasari, l'opera di Baglione rappresenta una valida guida di Roma in un periodo di grande trasformazione, nel passaggio dal manierismo al barocco – commenta Barbara Agosti, autrice con Patrizia Tosini del libro “Giovanni Baglione. Le vite de' pittori, scultori et architetti (Roma 1642)” (Officina Libraria, 2 volumi, 924 p. + 342 p., € 80,00).RECENSIONI“Storia delle città in Italia” di Arsenio Frugoni (Morcelliana, 216 p., € 35,00)“Storia della pittura d'Italia” di Arsenio Frugoni (Morcelliana, 636 p., € 48,00)“Storia della scultura d'Italia” di Arsenio Frugoni (Morcelliana, 240 p., € 35,00)“Storia dell'architettura d'Italia” di Arsenio Frugoni (Morcelliana, 256 p., € 35,00)“La grammatica della calligrafia” di Barbara Calzolari e Alessandro Salice (Gribaudo, 216 p., € 24,00)“Scrivere (nel)la storia. Uno sguardo ai papi del XX secolo attraverso le loro grafie” di Lidia Fogarolo (Graphe, 284 p., € 15,90)“Due papi. I miei ricordi con Benedetto XVI e Francesco” di Julián Herranz (Piemme, 416 p., € 22,00)“Benedetto e Francesco. Due papi diversi, ma mai divisi” di Rosanna Virgili (Edizioni San Paolo, 176 p., € 16,00)“Benedetto XVI. Il teologo, il pontefice, l'uomo” di Andrea Tornielli (Piemme, 336 p., € 19,90)“Giovanni XXIII e Paolo VI. Due vite intrecciate” di Marco Roncalli (Morcelliana, 320 p., € 26,00)“Angelo Giuseppe Roncalli cappellano militare nella Grande Guerra” di Giorgio Cavalli (Gaspari, 140 p., € 18,00)IL CONFETTINO“Alla scoperta di Roma. Piccoli esploratori” di Daniela Celli (White Star - National Geographic Kids, 48 p., € 12,90)“Roma da scoprire” (Lonely Planet Kids, 104 p., € 14,00)

Chiunque si interessi di arte avrà sicuramente letto Le vite de' più eccellenti pittori, scultori e architetti. Il celebre testo, pubblicato nel 1550 dall'Editore Torrentino e scritto da Giorgio Vasari non è soltanto un punto di riferimento per studenti, ricercatori e appassionati di storia dell'arte. È anche modello e fonte di ispirazione per chi scrive di arte contemporanea. Così è stato almeno nel caso di Luca Beatrice che lo scorso settembre 2023 ha pubblicato per Marsilio Le Vite – Un racconto provinciale dell'arte italiana. Un libro originale, ricco di aneddoti e di ricordi, che è al centro di questa puntata di Voci Dipinte che ha come ospite l'autore Luca Beatrice.L'inserto della settimana ci porta al Museo delle culture di Milano, dove è in corso fino al 10 marzo la mostra intitolata Rodin e la danza. Emanuela Burgazzoli ha intervistato le curatrici Cristiana Natali ed Elena Cervellati.

Giorgio Vasari (1511-74) may have gone down in history as the very first Western art historian, but he is also a messy bench who loves drama, and we are here for it. Listen to his take on Sandro Botticelli from “The Lives of the Artists” (Bondanella trans., 1991), particularly his practical jokes, from which no friend or neighbor escaped unscathed. This is a free edition of The Lonely Palette Reads, a perk that will be going out exclusively to Patreon patrons in the future. To become a patron, go to patreon.com/lonelypalette and sign up at any level of support. Thank you! Got suggestions for other intimidating-until-read-aloud-texts for future episodes of The Lonely Palette Reads? Email the show at tamar@thelonelypalette.com. Music used: Glenn Miller, “Tuxedo Junction” The Blue Dot Sessions, “Belle Anette” Our website: www.thelonelypalette.com Support the show: www.patreon.com/lonelypalette

We're baaacckk! Mandolyn Wilson Rosen and I have returned for Part 2 to finish our report on Giorgio Vasari's "Lives of the Artists," a combo-bio of Florentine High Renaissance artists from the 1580's. Pull up a carved high-backed chair, grab yourself a goblet of watered-down wine and join us for the continuation of our journey back to this fabled time in Italian art. In Part 2, we cover Sandro Botticelli, Leonardo da Vinci, Raphael, Jacopo da Pontormo, Michelangelo, and Titian (with some discussion of Albrecht Durer as well). In the Boticelli section, Mandy references this article by Alexxa Gotthardt on Artsy: https://www.artsy.net/article/artsy-editorial-botticellis-birth-venus-challenged-depictions-nude-art Please visit our sponsor, The New York Studio School, to enroll for their wonderful Marathon courses (by Sept 8) or for over a dozen different 11 week Evening & Weekend Courses (by Sept 18) at NYSS.org Find your own copy of "Lives of the Artists" by Giorgio Vasari at your public library or at most online bookstores. The 1991 English Translation by Julia and Peter Bondanella includes the lone woman artist in Vasari: Sculptor Madonna Properzia de Rossi. Earlier translations often exclude her, so keep an eye out if buying used! Mandolyn Wilson Rosen is online here: website: https://mandolynwilsonrosen.com/home.html and IG: https://www.instagram.com/mandolyn_rosen/ Amy Talluto is online here: website: https://www.amytalluto.com/ and IG: https://www.instagram.com/talluts/ Thanks for listening! ---------------------------- Pep Talks on IG: ⁠@peptalksforartists⁠ Pep Talks on Art Spiel as written essays: ⁠https://tinyurl.com/7k82vd8s⁠ Amy's Interview on Two Coats of Paint: ⁠https://tinyurl.com/2v2ywnb3⁠ Amy's website: ⁠https://www.amytalluto.com/⁠ Amy on IG: ⁠@talluts⁠ ⁠BuyMeACoffee⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Gast: Rokus Hofstede, literair vertaler. Robert van Altena spreekt met Rokus Hofstede over de schilderslevens van de Franse schrijver Pierre Michon.* "Waarom zou je personages moeten verzinnen? Er zijn zoveel mensen die zijn gestorven die wachten op wederopstanding, die wachten op een levensbeschrijving." Rokus Hofstede: “Namen opduiken uit het archief, met een geboortedatum en een sterfdatum en daar dan een leven bij verzinnen dat is heel kort gezegd wel de werkwijze van Michon. Hij zegt ook: Waarom zou je personages moeten verzinnen? Er zijn zoveel mensen die zijn gestorven die wachten op wederopstanding, die wachten op een levensbeschrijving. Hij noemt dan zelfs het beroemde scheermes van Ockham: Je moet het aantal entiteiten niet nodeloos vermeerderen. Dat is natuurlijk een soort boutade maar hij zegt al die mensen die anoniem en vergeefs gestorven zijn, zij wachten misschien op een verhaal, zij wachten er misschien op dat hun verhaal wordt verteld. Dus hij heeft een soort mededogen voor de naamlozen uit de geschiedenis. Met die blik kijkt hij ook naar de beroemde namen, de halfgoden, de heiligen, de kunstenaars die vaak gemythologiseerd worden tot halfgoden en heiligen, en hij ziet hen ook als de naamlozen die ze ooit waren of die ze hadden kunnen blijven als het anders was gelopen, als ze niet boven zichzelf waren uitgegroeid in hun werk.” Pierre Michon schreef novelles over een herdersjongen die knecht wordt van Claude Lorrain — 'De koning van het woud'. Over een jonge nog onbekende Francesco Goya die 'in mei van het jaar 1778 […] keek naar wat hij nooit zou kunnen schilderen en wat hij om die reden voortaan schilderen moest' — 'God voleindigt niet'. Over een vermeend historisch meesterwerk van de schilder François Élie Corentin. Lezers van Michon zochten in het Louvre tevergeefs naar het schilderij, ze kenden het echter al in zijn enige gedaante, de schildering in woorden van Michon  —'De Elf'. Over Joseph Roulin alias 'de postbode', een geliefd model van Vincent van Gogh — 'Leven van Joseph Roulin'. Over de schilder Jean Antoine Watteau, waarin vleselijke lust als bron van scheppingskracht van de kunstenaar wordt gepresenteerd. De schilder zet,  in de verbeelding van Michon, zijn seksuele uitspattingen om in een pornografisch œuvre, een œuvre dat vernietigd wordt, wellicht vernietigd moet worden om parallel te blijven lopen met het leven van de schilder —'Vermaken wil ik mij'. En tot slot over Lorentino d'Angelo een leerling van Piero della Francesca. Lorentino die anders dan Corentin werkelijk heeft bestaan, een bestaan waarvan we op de hoogte zijn omdat Giorgio Vasari hem een plek geeft in zijn levensbeschrijving van Piero, niet om zijnentwil maar als teken. Piero verhoudt zich in die beschrijving tot Lorentino als het gekleurd object in een schilderij dat in de schaduwpartijen zijn complementair bij zich draagt. Michon licht Lorentino voor even liefdevol op uit die schaduw in —'Heb vertrouwen in dit teken'. *DEZE ZOMER WEKELIJKS EEN KEUZE UIT HET SPRINGVOSSEN ARCHIEF. DIT GESPREK WERD VOOR HET EERST UITGEZONDEN OP 7 OKTOBER 2019. De schilderslevens van Pierre Michon in de vertalingen van Rokus Hofstede zijn verschenen in : * Pierre Michon, 'De koning van het woud' (Perlouses, 2002) **Pierre Michon, 'Meesters en knechten. Het leven van Joseph Roulin' (Van Oorschot, 1996) ***Pierre Michon, 'De elf' (Van Oorschot, 2011) SPRINGVOSSEN 
redactie + presentatie: Robert van Altena
 contact: springvossen[at]gmail.com www.instagram.com/springvossen 
www.facebook.com/springvossen
 www.amsterdamfm.nl/onderwerp/springvossen Voor een speellijst met de Springvossen uitzendingen: www.soundcloud.com/amsterdamfm2/sets/springvossen

Artist, Mandolyn Wilson Rosen, is back with me for another Book Talks episode! In this episode, we are reading Giorgio Vasari's "Lives of the Artists," published 1550/1568 which profiles famous High Renaissance, mostly Florentine artists such as Michelangelo, Raphael, Boticcelli, and a few lesser-knowns. We were so excited about the book that we ran deliciously long and decided to cut it up and make it a two-parter. In Part 1, we cover Vasari's takes on Giotto, Masaccio, Piero Della Francesca, Paolo Uccello, Fra Filippo Lippi, and Madonna Properzia de Rossi (the only woman in the book, and who was even left out of Mandy's earlier English translation!) Part 2 is coming right up - please keep an eye out. Shout out to artist and writer, Elisabeth Nicula, who we quoted in the episode, and to the books that helped form Vasari's masterwork: "The Decameron" by Giovanni Boccaccio and "The Life of Brunelleschi." Also, a tip of the cap to the Virgin's Holy Girdle of Prato, shown to the public only 4 times a year: https://irenebrination.typepad.com/irenebrination_notes_on_a/2017/07/girdle-cintola-prato.html (Really, no one can out-weird the Catholics) The book is available widely, both used and new! We recommend a skim, not a binge. Find Mandolyn Wilson Rosen online at: https://mandolynwilsonrosen.com/ Thank you to artist, Amy McCormac, for your kind Buy Me A Coffee donation this month! ---------------------------- Pep Talks on IG: ⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠ Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amy's website: ⁠⁠⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠⁠⁠ Amy on IG: ⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

If you ask any red-blooded Tuscan what does he really think about his land, he will undoubtedly say that it's the most beautiful place in the entire planet. While I've travelled enough to know that there are places on this green and pleasant planet that are even more stunning, I'm still convinced that no other place has the same density of beautiful things to offer. Need a proof? Think about the least known corners of this very popular region, those that tourists usually skip, the ones that are not on the cover of the travel guides. Between Arezzo and Umbria there is a charming valley chock full of hamlets, castles, churches and much more, the Val Tiberina. While it isn't as popular as the art cities, it hosts a charming little village whose claim to fame was to have been the place where a bloody battle was fought and where one of Italy's greatest artists made one of its biggest mistakes. That's why this week What's Up Tuscany will bring you to Anghiari and tell you everything there is to know about this lovely hamlet, its history and all that you can see and do in this little known valley.If you listen to the full episode, I will tell you how the battle was crucial enough to convince the Florence rulers to hire the world's most famous artist, Leonardo da Vinci, to paint it on the walls of the heart of the city government, the splendid Salone dei Cinquecento in Palazzo Vecchio. Leonardo, though, wanted to experiment with an innovative technique and made a huge mess, enough to be fired on the spot. 60 years later, another great artist, Giorgio Vasari, would paint over the famous fresco and make a new one, starting the legend of the missing masterpiece. Now it has been proved that Leonardo didn't actually paint anything but people in Anghiari have still dedicated an interesting museum to it and the battle it was supposed to portray. This little village has got many more things to offer, from many picturesque alleys in the town centre to an ancient cloth factory that is open to the public. In the last chapter I will give you some practical advice, from the best restaurants in town to the spooky castle next door, to the most recent addition in the valley, Tuscany's biggest lake. It might not be as famous as many others, but Anghiari and the Val Tiberina offer an insight into the true soul of this land. Next time you come to visit, think about staying here for more than a day. You won't regret it.Email: podcast@larno.itFacebook: https://www.facebook.com/larno.itTwitter: @arno_it / @WhatsupTuscanyLINKS TO SOURCES (ITALIAN ONLY)https://www.italyyoudontexpect.com/anghiari-cosa-vedere-borgo-della-battaglia/https://www.fanpage.it/cultura/perche-leonardo-da-vinci-non-dipinse-la-battaglia-di-anghiari-il-mistero-nellultima-puntata-della-fiction-rai/Museo della Battaglia - +39 0575787023 – battaglia@anghiari.itBACKGROUND MUSICPipe Choir - Bom Bom Breakthrough (Instrumental)Cityfires - Blood Problems (Instrumental)The Passion HiFi - Buried (Instrumental)Pipe Choir - Rocking Back and Forth (Instrumental)Zentra - SiegeAudionautix - SoulstoneWayne John Bradley - Blues Rock Original InstrumentalAll released under Creative Commons Attribution 4.0 International Licensehttps://soundcloud.com/pipe-choir-2/pipe-choir-bom-bom-breakthrough-creative-commons-instrumentalhttps://soundcloud.com/cityfires/blood-problems-instrumentalhttps://soundcloud.com/freehiphopbeatsforyou/free-the-passion-hifi-buriedhttps://soundcloud.com/pipe-choir-2/pipe-choirrocking-back-and-forth-creative-commons-instrumentalhttps://soundcloud.com/argofox/zentra-siegehttps://www.youtube.com/watch?v=MyyMXafoL-Ahttps://soundcloud.com/ayneohnradley/blues-rock-original-instrumentalcreative-commonshttp://www.pipechoir.com/

Se chiedete ad ogni toscano cosa pensi davvero della sua terra, non potrà che rispondervi che, almeno per lui, è il posto più bello al mondo. Anche se ho viaggiato abbastanza da sapere che ci sono posti su questa palla azzurra e verde che sono ancora più splendidi, sono ancora convinto che non ci sia regione al mondo che abbia la stessa densità di cose meravigliose al suo interno. Vi serve una prova? Pensate agli angoli meno conosciuti di questa terra, quelli che i turisti di solito ignorano, che non troverete mai sulle copertine delle riviste patinate. Tra Arezzo e il confine con l'Umbria, ad esempio, c'è un'affascinante vallata piena zeppa di villaggi pittoreschi, castelli, conventi, chiese e molto altro, la Val Tiberina. Anche se certo non è popolare come le città d'arte, ha al proprio interno un delizioso villaggio diventato famoso per essere il posto dove si combattè una delle battaglie più importanti del Quattrocento e dove uno dei più grandi artisti della storia commise uno dei suoi errori più gravi. Ecco perché questa settimana, What's Up Tuscany vi porta ad Anghiari per raccontarvi tutto quel che c'è da sapere di questo delizioso paesino, la sua storia e tutto quel che si può fare e vedere in questa splendida valle.Se ascolterete la puntata intera, vi racconterò come la vittoria fu così importante da convincere i governanti di Firenze ad ingaggiare l'artista più famoso del mondo, Leonardo da Vinci, per rappresentarla sulle pareti del cuore pulsante della città, lo splendido Salone dei Cinquecento di Palazzo Vecchio. Il genio di Vinci, però, volle sperimentare una tecnica all'avanguardia e fece un casino immondo, abbastanza da essere licenziato in tronco. 60 anni dopo ci sarebbe voluto un altro grande artista, l'aretino Giorgio Vasari, per cancellare la memoria del fallimento e realizzare l'affresco che abbiamo davanti agli occhi oggi. Questo fu abbastanza per far nascere la leggenda del capolavoro scomparso. Anche se studi moderni hanno provato che Leonardo non fece in tempo a dipingere un bel niente, Anghiari ha dedicato comunque un interessante museo alla battaglia e al dipinto che l'avrebbe dovuta immortalare per i posteri. Questo villaggio ha molte altre cose da offrire, dalle pittoresche stradine del centro storico ad un'antica fabbrica di tessuti che è aperta al pubblico. Nell'ultimo capitolo, poi, vi darò qualche consiglio pratico, dai migliori ristoranti dove mangiare al castello infestato dai fantasmi non troppo lontano fino all'aggiunta più recente in questa vallata, il lago più grande della Toscana. Sicuramente non è famosa come altre cittadine toscane ma Anghiari e la Val Tiberina offrono uno spaccato nell'anima più genuina di questa terra. La prossima volta che verrete a trovarci, pensate a passarci qualche giorno. Non ve ne pentirete.Email: podcast@larno.itFacebook: https://www.facebook.com/larno.itTwitter: @arno_it / @WhatsupTuscanyI LINK ALLE FONTIhttps://www.italyyoudontexpect.com/anghiari-cosa-vedere-borgo-della-battaglia/https://www.fanpage.it/cultura/perche-leonardo-da-vinci-non-dipinse-la-battaglia-di-anghiari-il-mistero-nellultima-puntata-della-fiction-rai/Museo della Battaglia - +39 0575787023 – battaglia@anghiari.itBACKGROUND MUSICPipe Choir - Bom Bom Breakthrough (Instrumental)Cityfires - Blood Problems (Instrumental)The Passion HiFi - Buried (Instrumental)Pipe Choir - Rocking Back and Forth (Instrumental)Zentra - SiegeAudionautix - SoulstoneWayne John Bradley - Blues Rock Original InstrumentalAll released under Creative Commons Attribution 4.0 International Licensehttps://soundcloud.com/pipe-choir-2/pipe-choir-bom-bom-breakthrough-creative-commons-instrumentalhttps://soundcloud.com/cityfires/blood-problems-instrumentalhttps://soundcloud.com/freehiphopbeatsforyou/free-the-passion-hifi-buriedhttps://soundcloud.com/pipe-choir-2/pipe-choirrocking-back-and-forth-creative-commons-instrumentalhttps://soundcloud.com/argofox/zentra-siegehttps://www.youtube.com/watch?v=MyyMXafoL-Ahttps://soundcloud.com/ayneohnradley/blues-rock-original-instrumentalcreative-commonshttp://www.pipechoir.com/

The dome frescoes of Florence Cathedral cover nearly an acre of dome surface, making it the world's largest fresco. Begun by Giorgio Vasari in 1572 and completed by Federico Zuccari in 1579, the main subject of the fresco is the Last Judgment and incudes some strikingly graphic imagery in the Hell sections.

Un Día Como Hoy 27 de Junio: Nace: 1880: Helen Keller, escritora, oradora y activista política sordociega estadounidense (f. 1968). 1880: Helen Keller, escritora, oradora y activista política sordociega estadounidense (f. 1968). 1958: Magnus Lindberg, compositor y pianista finlandés. Fallece: 1574: Giorgio Vasari, pintor, arquitecto e historiador italiano (n. 1511). Conducido por Joel Almaguer. Una Producción de Sala Prisma Podcast. 2023

On November 4, 1966, a disastrous flood swept through Florence, Italy, submerging Giorgio Vasari’s renowned work of art The Last Supper under a pool of mud, water, and heating oil for over twelve hours. With its paint softened and its wooden frame significantly damaged, many believed that the piece was beyond repair. However, after a tedious fifty-year conservation effort, experts and volunteers were able to overcome monumental obstacles and restore the valuable painting. When the Babylonians conquered Israel, the people felt hopeless—surrounded by death and destruction and in need of restoration (Lamentations 1). During this period of turmoil, God took the prophet Ezekiel to a valley and gave him a vision where he was surrounded by dry bones. “Can these bones live?” He asked. Ezekiel responded, “Lord, you alone know” (Ezekiel 37:3). God then told him to prophesy over the bones so they might live again. “As I was prophesying,” Ezekiel recounted, “there was a noise, a rattling sound, and the bones came together” (v. 7). Through this vision, God revealed to Ezekiel that Israel’s restoration could only come through Him. When we feel as if things in life have been broken and are beyond repair, God assures us He can rebuild our shattered pieces. He’ll give us new breath and new life.

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I was joined by Nicholas Scott Baker to discuss his book, In Fortune's Theater: Financial Risk and the Future in Renaissance Italy (Cambridge University Press, 2021). Professor Baker is an Associate Professor of history at Macquarie University in Sydney Australia interested in the political and economic cultures of early modern Europe and the Mediterranean, with a particular focus on Renaissance Italy. In this fascinating new book, Professor Baker reveals how Renaissance Italians developed a new concept of the future as unknown time-yet-to-come. As In Fortune's Theater makes clear, nearly everyone in Renaissance Italy seemingly had the future on their minds. Authorities in important commercial hubs such as Genoa, Venice, Rome, and Florence legislated against overzealous betting on the future. Merchants filled their commercial correspondence with a lexicon of futurity. Famed painters such as Caravaggio, Giorgio Vasari, and Paolo Veronese manipulated the existing iconography of the figure of Fortuna into a moral allegory about unseized opportunity. And seemingly every important Renaissance Italian intellectual including Petrarch, Dante, Christine de Pizan, Poggio Bracciolini, Leon Battista Alberti, Laura Cereta, Giovanni Pontano, Niccolò Machiavelli, Francesco Guicciardini, and Baldassare Castiglione cared deeply about time-yet-to-come. Baker's book is a rich, multilayered examination of the problems of risk, fortune, and the future in the Renaissance, and it should have broad appeal to anyone interested in the economic and political culture of early modern Europeans. Michael Paul Martoccio is an Assistant Professor of History at the University of Wisconsin-Madison specializing in the economic and military historian of the early modern Mediterranean. I am especially interested in how early modern economic practices – consumerism, market culture, and the commercialization of war – shaped notions of sovereignty, territoriality, and political geography. If you have a title to suggest for this podcast, please contact him at martoccio@wisc.edu.

Matteo Fieno"Virtus Virtutis"Mostra personale, Napoli, Sant'Anna dei LombardiVirtus, Virtutis Mostra personale di Matteo Fienoa cura di Ambra GiglioCooperativa Sociale ParteNeapolisComplesso Monumentale Sant'Anna dei Lombardi, Napoli25 marzo - 24 maggio 2023Virtus, Virtutis, mostra personale di Matteo Fieno a cura di Ambra Giglio, accolta nella Sagrestia Vecchia del Complesso Monumentale di Sant'Anna dei Lombardi, scrigno napoletano affrescato da Giorgio Vasari con un ciclo pittorico dedicato alle Virtù.La mostra costituisce l'atto conclusivo di una profonda riflessione di Matteo Fieno a partire dal lavoro realizzato dal maestro aretino a Napoli: in un dialogo ideale con Vasari, l'artista declina in chiave contemporanea le Virtù illustrate sulla volta della Sagrestia. Una rilettura non solo formale ma anche comunicativa che ha trasformato il progetto in un ponte sperimentale tra le epoche. Su invito di ParteNeapolis, che gestisce l'area museale e gli eventi del Complesso, Fieno realizza dodici tele (150x150 cm), dipinte con tecnica mista, per raccontare sui social media la prolifica potenza espressiva di un tema centrale per la storia dell'arte, con le sue implicazioni etiche e teologiche. Alla pubblicazione nel 2022 sul profilo Instagram di Sant'Anna dei Lombardi, fa seguito oggi la mostra Virtus, Virtutis che porta cinque delle virtù contemporanee dipinte da Matteo Fieno nei luoghi del Vasari: Sapienza, Concordia, Bontà, Prodigalità e Abbondanza. Dal mondo digitale a quello analogico e non viceversa, per provare a trovare assonanze e similitudini con una visione della Virtù per sua natura universale eppure diversa in ogni epoca.Quando nel 1544 Giorgio Vasari fu invitato dall'Ordine Olivetano ad affrescare il Refettorio del loro monastero, successivamente adibito a Sagrestia, scelse di sostituire gli elementi medievali preesistenti con “la maniera moderna”, lavorando a stucco le volte per dare luce allo spazio e realizzando un ciclo pittorico diviso in tre campate, ognuna corrispondente ad un preciso programma iconografico che prevedeva la realizzazione di personificazioni delle virtù intorno ad un ottagono centrale contenente il tema di riferimento. La volta di ingresso è dedicata al Tema della Religione dove, tra le altre, trovano spazio Concordia e Bontà, due delle virtù dipinte da Matteo Fieno; l'ottagono centrale è dedicato al Tema dell'Eternità, che include anche la Prodigalità e la Sapienza, presenti in mostra nella sua interpretazione contemporanea, così come l'Abbondanza, illustrata nel ciclo vasariano nell'ultima volta dedicata al Tema della Fede.Accompagna la mostra la pubblicazione di Diario di Virtus, Virtutis, un testo realizzato in collaborazione con Davide Dadone, giovane teologo e docente di religione, che insieme ai suoi giovani allievi esplorerà il concetto di Virtù al tempo di Vasari come ai giorni nostri. Attraverso l'utilizzo di un linguaggio aperto e divulgativo, l'indagine di Dadone vuole portare alla luce parallelismi e differenze tra ieri e oggi, invitando alla riflessione il lettore/spettatore grazie all'analisi degli interrogativi esistenziali che attraversano il tempo.Matteo Fieno nato in Piemonte nel 1981, vive e lavora nella sua casa atelier situata nelle Langhe, patrimonio dell'UNESCO. Conosciuto come "l'artista delle donne" per la sua capacità di declinare con sensibilità e poesia la figura femminile, realizza opere su tela e su carta dove i soggetti ritratti vivono attraverso la tecnica mista in cui matita a carboncino, olio, acrilico, acquerello e pastello gessoso compongono una polifonia a colori. Le sue mostre sono corredate da un catalogo/diario dove storie e riflessioni accompagnano ogni opera, dando vita a veri e propri dialoghi tra arte e letteratura.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Concierto/Viernes Temáticos: Música visual (II). Leonardo da Vinci: la música de lo invisible. . Pintor, escultor, arquitecto, ingeniero, pionero del vuelo, anatomista, científico: estos fueron, entre otros, los innumerables oficios con los que Leonardo da Vinci desarrolló su talento. Pero una de sus primeras biografías (Giorgio Vasari) ya señalaba que su primer trabajo fuera de Florencia había sido el de músico. En este concierto, se proyectan imágenes de creaciones de Leonardo mientras I Fagiolini interpreta obras, tanto de su época como posteriores, que incitan a contemplar el arte a través del prisma del sonido. Se plasma así en la práctica una premisa del propio Leonardo: “La música no puede considerarse sino la hermana de la pintura”. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

I hjärtat av renässansen i Florens verkar Giorgio Vasari. Han var den första som skrev konsthistoria på ett systematiskt sätt och hans album med renässansteckningar hör till de mest mytomspunna i konsthistorien. "Giorgio Vasaris teckningar - en mytomspunnen samling" heter en utställning som just nu pågår på Nationalmuseum i Stockholm. Den tar avstamp i det mytomspunna album med teckningar som Vasari själv sammanställde. En bok som försvann efter hans död 1574 och som konsthistoriker genom åren mödosamt försökt rekonstruera.P1 Kulturs Cecilia Blomberg fick en tur genom Nationalmuseums salar med curatorn Carina Fryklund. Här visas teckningar som sällan lämnar förråden och till grund för utställningen ligger ett hårt och systematiskt detektivarbete som kastar nytt ljus över konsthistorien.

Im Jahre 1522 führt Süleyman der Prächtige eine gewaltige Invasionsflotte nach Rhodos. Er hat es satt, dass die europäischen Schiffe das Mittelmeer kontrollieren und den osmanischen Seehandel unterbinden. Gleichzeitig, möchte er der bald 400-jährigen Kreuzfahrergeschichte endlich ein Ende setzen.Doch was er nicht weiß ist, dass er mit der Invasion Zyperns den Auftakt für einen epischen Seekrieg setzt, an dessen Ende die große Seeschlacht bei Lepanto steht, 49 Jahre später...........WERBUNGDu willst dir die Rabatte unserer Werbepartner sichern? Hier geht's zu den Angeboten!........FOLGENBILDDas Folgenbild zeigt die Schlachtordnung der Schlacht bei Lepanto 1571. Giorgio Vasari malte das Gemälde im Jahr 1572 im Auftrag des Papstes.........LITERATURBaumgart, Winfried: Lepanto 1571. Zum vierhundertsten Jahrestag der großen Seeschlacht, Mainz 1977.Crowley, Roger: Entscheidung im Mittelmeer. Europas Seekriege gegen das Osmanische Reich 1521-1580, Darmstadt 2016..........UNTERSTÜTZUNGIhr könnt uns dabei unterstützen, weiterhin jeden 10., 20. und 30. des Monats eine Folge zu veröffentlichen!Folgt und bewertet uns bei Spotify, Google Podcasts, Apple Podcasts, Podimo, Instagram, Twitter oder über eure Lieblings-Podcastplattformen. Über diesen Spendenlink oder unseren Fanartikel-Shop könnt ihr uns auch finanziell unterstützen!Wir freuen uns über euer Feedback, Input und Vorschläge zum Podcast, die ihr uns über das Kontaktformular auf der Website, Instagram und unsere Feedback E-Mail: kontakt@his2go.de schicken könnt. An dieser Stelle nochmals vielen Dank an jede einzelne Rückmeldung, die uns bisher erreicht hat und uns sehr motiviert..........COPYRIGHTMusic from https://filmmusic.io: “Sneaky Snitch” by Kevin MacLeod and "Plain Loafer" by Kevin MacLeod (https://incompetech.com) License: CC BY Hosted on Acast. See acast.com/privacy for more information.

Argonotlar güncel sanat yayını ile ortak bir programımızda Nergis Abıyeva'nın Argonotlar'da yayımlanan "Plautilla Nelli ve Son Akşam Yemeği" yazısı üzerinden Rönesans'ın az bilinen, unutulmuş, unutturulmuş sanatçı kadınlarına bakıyoruz. Giorgio Vasari'nin Sanatçıların Hayat Hikâyeleri kitabında yer verdiği dört sanatçı kadından biri olan Nelli'nin sanat tarihindeki yerini inceliyoruz.

This 2018 episode covers an artist and architect from 16th-century Italy. But what really made him famous was his writing. He penned biographies of famous artists, but he wasn't very exacting about the details.See omnystudio.com/listener for privacy information.

Today begins a journey through Florence, the hub of rebirth in what Giorgio Vasari called the "rinascita" and we call the Renaissance. Vasari will be our tour guide through this explosive period of transformation. Much like movies and TV in our day, the art of the Medieval period had exhausted its possibilities. Then as now, we might ask: what comes next? -- How can you learn Latin, Ancient Greek, or Biblical Hebrew in order to read the classics of the ancient western world, in their original language? Get 10% off of your Ancient Language Institute course with promo code HERETICS: https://ancientlanguage.com/heretics. -- Indeed is the hiring partner where you can attract, interview, and hire all in one place. Get a $75 sponsored job credit to upgrade your job post at https://Indeed.com/HERETICS. -- Diversify your savings and get up to $1,500 of free silver today with American Hartford Gold: text HERETICS to 6-5-5-3-2. -- Stop throwing your tea into the harbor, and start celebrating America's tea heritage with Gold River Trading Co.'s specialty blends. Get 10% off your order with promo code HERETICS: https://goldriverco.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Giorgio Vasari, le livre des dessins“ Destinées D'une Collection Mythiqueau Louvre – Rotonde Sully, Parisdu 31 mars au 18 juillet 2022Interview de Louis Frank, conservateur général au département des Arts graphiques, musée du Louvre, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 31 mai 2022, durée 27'40.© FranceFineArt.Communiqué de presse Commissariat : Louis Frank, conservateur général au département des Arts graphiques, musée du Louvre Carina Fryklund, senior curator, département des collections, Nationalmuseum de StockholmGiorgio Vasari a réuni ce qui fut probablement la première collection de dessins fondée sur une logique historisante : le légendaire Libro de' disegni, qui fait son apparition dans la seconde édition des Vies des plus excellents peintres, sculpteurs et architectes, parue à Florence, en 1568, chez les Giunti. Le 29 juin 1574, deux jours après la mort de Vasari, le Libro fut remis par ses héritiers au grand-duc de Toscane, Francesco I, qui l'avait envoyé chercher. Ensuite, il disparaît.Les grands collectionneurs et connaisseurs des XVIIe et XVIIIe siècles ont tous rêvé d'acquérir et cru qu'ils possédaient des dessins du Libro. Le plus célèbre de tous, Pierre-Jean Mariette, fut à la source d'une tradition historiographique qui voyait dans un certain type de montage, ornemental et architecturé, le signe de l'appartenance passée d'une feuille au mythique recueil vasarien.Mais on sait, depuis qu'en 1950, deux grands savants, Arthur Popham et Philip Pouncey, ont remarqué sur un « montage Vasari » la présence d'un mystérieux emblème, que les choses ne sont pas aussi simples. C'est aux conséquences inattendues de cette découverte, vieille de plus d'un demi-siècle, qu'est consacrée l'exposition organisée par le Louvre et le Nationalmuseum de Stockholm.#ExpoVasari catalogue de l'exposition, sous la direction de Louis Frank et de Carina Fryklund. Coédition musée du Louvre éditions / Lienart. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Ce que l'on sait des maîtres artistes de la Renaissance italienne, on le doit surtout à Giorgio Vasari. L'homme est considéré comme le tout premier historien de l'art. Pourtant, son immense collection de dessins de peintres ou architectes de l'époque n'est peut-être pas aussi grande qu'on le croit... Louis Frank est conservateur général du patrimoine au Musée du Louvre.

https://www.uffizi.it/opere/vasari-ritratto-lorenzo-il-magnifico

Vite Utopiche, storie di donne e uomini con una visione!Sara Signori intervista lo storico dell'arte Antonio Soldi per raccontarvi la vita, le storie, i momenti più importanti di Giorgio Vasari!by Radio Utopia. 

El Ponte Vecchio es uno de los puentes más emblemáticos de Florencia. Hoy día, viviendas y comercios siguen formando parte de la estructura medieval, que alberga un sinfín de leyendas y secretos.

Vittorio Sgarbi"Raffaello. Un Dio mortale"La nave di Teseohttp://www.lanavediteseo.eu/“Raffaello ha solo dipinto. Non è stato un uomo complesso come Leonardo, un pensatore curioso di tutto; non è stato come Caravaggio, un ‘maledetto' che vive una vita piena di contrasti; non è stato un artista come Michelangelo, pittore, scultore, poeta, architetto. Raffaello ha dipinto soltanto. E ogni volta ha inventato un capolavoro. I pittori, come il suo maestro Perugino, tendono a ripetersi, a riprodurre un modello, hanno un archetipo di riferimento. Lui no. Ogni volta inventa un'immagine nuova. Opere che la critica disconosce sono di Raffaello: sono opere diverse da quelle che ci aspettiamo, perché Raffaello non è solo Raffaello, è anche Giorgione, è Caravaggio, è Michelangelo, è Parmigianino. Lui è tutto: nessuno è ‘più tutto' di lui. Quello che ha fatto Raffaello è un prolungamento della creazione di Dio e della bellezza del mondo, una bellezza assoluta, senza limiti.”Seguendo il racconto di Giorgio Vasari, Vittorio Sgarbi compone il suo racconto di Raffaello, dal commovente rapporto con il padre e la madre, al magistero di Pietro Perugino, dagli affreschi delle Stanze Vaticane fino al torbido amore per la Fornarina che destabilizzò la sua calma olimpica. E ogni volta Vittorio Sgarbi percorre la fitta rete di legami con i pittori del suo tempo: l'ammirazione per Leonardo, il rapporto contrastato con Michelangelo, l'amicizia con Bramante.Vittorio Sgarbi è nato a Ferrara. Critico e storico dell'arte, ha curato mostre in Italia e all'estero, è autore di saggi e articoli. È parlamentare della Repubblica, sindaco di Sutri (VT), prosindaco di Urbino, presidente di Ferrara Arte, presidente della Fondazione Canova, presidente del MART. Nel 2011 ha diretto il Padiglione Italia per la 54° Biennale d'Arte di Venezia. Nel 2017 è stato chiamato per chiara fama alla Università per stranieri di Perugia come professore ordinario di Storia dell'arte. La serie di volumi dedicata al Tesoro d'Italia, una storia e geografia dell'arte italiana, comprende Il tesoro d'Italia. La lunga avventura dell'arte (2013), Gli anni delle meraviglie. Da Piero della Francesca a Pontormo (2014), Dal cielo alla terra. Da Michelangelo a Caravaggio (2015), Dall'ombra alla luce. Da Caravaggio a Tiepolo (2016), Dal mito alla favola bella. Da Canaletto a Boldini (2017), Il Novecento. Volume I: dal Futurismo al Neorealismo (2018), Il Novecento. Volume II: da Lucio Fontana a Piero Guccione (2019). Tra le sue pubblicazioni più recenti, Parmigianino (nuova edizione 2016), La Costituzione e la Bellezza (con Michele Ainis, 2016), Leonardo. Il genio dell'imperfezione (2019), Caravaggio. Il punto di vista del cavallo (nuova edizione 2021) e Ecce Caravaggio. Da Roberto Longhi a oggi (2021).IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. A History of Art History (Princeton UP, 2019) shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

Michelangelo devoted every fiber of his being to the arts, becoming not only one of history's greatest sculptors, but also one its most notable painters and architects.   Subscribe in Apple Podcasts, Spotify, or wherever you're listening right now.   If you'd like to suggest a heroic figure to be covered on the show, send an email to Jon@ObjectiveStandard.org.   Facebook: https://www.facebook.com/objectivestandard Twitter: https://twitter.com/ObjStdInstitute LinkedIn: https://www.linkedin.com/company/objectivestandardinstitute/   Also check out:   The Lives of the Artists by Giorgio Vasari: https://amzn.to/2MYuWTT An Interview with Sculptor Sandra J. Shaw: https://theobjectivestandard.com/2011/08/sandra-j-shaw/

Tom Shakespeare, film director Peter Greenaway and art historian Matthijs Ilsink join Matthew Sweet in Holland for an exhibition marking the 500th anniversary of the death of artist Hieronymus Bosch. Matthew also talks to Plebaan Geertjan van Rossem, priest at St John's Cathedral in 's-Hertogenbosch, to get a religious perspective on Bosch's work. Het Noordbrabants Museum in 's-Hertogenbosch, Holland, presents the Jheronimus Bosch – Visions of a Genius exhibition from February 13 to May 8, 2016. 20 paintings (panels and triptychs) and 19 drawings are on display. You might also be interested listening to Saturday 13 February, 1302-1500: Saturday Classics: Ahead of his BBC4 series Renaissance Unchained, art critic Waldemar Januszczak conjures up the sound world of this epoch of huge passions and powerful religious emotions across all of Europe. The term 'Renaissance', or 'rinascita', was coined by Giorgio Vasari in 16th-century Florence, and his assertion that it had fixed origins in Italy has since influenced all of art history. But what of Flanders, Germany and the rest of Northern Europe? Waldemar presents music from the time of the Renaissance greats: Jan Van Eyck, Hans Memling, Albrecht Dürer, Hieronymus Bosch, Pieter Bruegel, Botticelli, Michelangelo, Leonardo and El Greco. Producer: Laura Thomas

Melvyn Bragg discusses 'Lives of the Artists' - the great biographer Giorgio Vasari's study of Renaissance painters, sculptors and architects. In 1550 a little known Italian artist, Giorgio Vasari, published a revolutionary book entitled 'Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times'. In it he chronicled the evolution of Italian art from the early pioneer Giotto to the perfection of Michelangelo.For the first time, Vasari set out to record artists' eccentricities and foibles as well as their artistic triumphs. We learn that the painter Piero di Cosimo was scared of the sound of bells, and witness Donatello shouting at his statues. But amongst these beguiling stories of human achievement, Vasari also explained his own theory of what made great art.In more recent decades, Vasari has been criticised for not allowing factual accuracy to get in the way of a good story. Nonetheless, the influence of his work has been unparalleled. It has formed and defined the way we think about Renaissance art to this day and some credit him with being the founder of the discipline of the history of art. Few artists that Vasari criticised have been comprehensively rehabilitated and Vasari's semi-divine trio of Michelangelo, Raphael and Leonardo are still seen as the apotheosis of artistic perfection. With:Evelyn WelchProfessor of Renaissance Studies and Academic Dean for Arts at Queen Mary, University of LondonDavid EkserdjianProfessor of History of Art and Film at the University of LeicesterMartin KempEmeritus Professor in the History of Art at the University of OxfordProducer: Thomas Morris.