Lives of the Painters Boxed Set (Everyman's Library CLASSICS)

When one reads Vasari's Lives' one should consider that to criticise thebook for it's various weaknesses with bias and his emotive tones is toutterly miss the point of Vasari. The book is what it is, largely aprimary source of the Great Artists from Giotto to Titian. No new versioncan get away from this, to attempt to balance the books opinions would beto create a new and inaccurate version. When one considers THIS book oneshould merely consider the quality of this edition, which is excellent. Superbly put together and marvelously edited.

Giorgio Vasari's 'Lives of the Painters, Sculptors and Architects' provides a detailed account of the development of art since the time of Cimabue and Giotto. In particular, Vasari attempts to decribe and record the development of mannerist art by identifying three periods in the history of art, leading up to what he might describe as the moment of artisitc perfection, with the emergence of the Renaissance. However, for the modern reader, this work can prove a chore. Gaston de Vere appears to have provided a very precise translation of the 2nd edition (1568) of this work and whilst this authenticity in translation is to be encouraged, it does not assist with what can otherwise be a very dry and difficult read. Vasari has also been severally criticised for embellishing upon and evening disregarding the truth, whilst writing the 'Lives'. These criticisms are in part justified. However, they must also be made in context. One must remember that Vasari was himself hampered in this work, being plagued by the uncertainty and deficiency of the records of the individuals and works involved, as is perhaps best illustrated by his desire to create a second edition of his work, thirteen years after the first edition. In addition, any dryness might be forgiven when considering the subject matter, the style of writing popular of that period and given Vasari's attempts to record and often describe those known works by his subjects. Incidentally, I found the 'Lives' much more interesting and rewarding when I had the opportunity to view many of these works myself in Florence and to visit Vasari's house in Arezzo. I would concede that the 'Lives' is certainly not for the light-hearted. However, given Vasari's influential and active position within the Medici court during what is arguably the high point of the Renaissance, the 'Lives' reflects a contemporary record, and Vasari's own view, of the origins and development of Florentine and Italian art.

I took a Master's level Art History class on Giorgia Vasari at FSU a few years ago and this was the translation of the book that the professor wanted us to buy for the class. And for good reason. It's probably the most complete and accurate translation of Vasari's works out there and is downright affordable in this edition (yes $44 is affordable for this. It's a nice two volume edition with a slipcover to store the books in and the books themselves have a nice sturdy binding. If you have to buy a translation of Vasari's works or just want to explore what the first art historian wrote, you can't go wrong with this edition.

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It's like this. If you have some casual interest in art history, particularly Renaissance art history, and most particularly Italian Renaissance art history, you've probably heard of Giorgio Vasari's "Lives." Want my advice? Stop there. Abridged editions are available (here I review the boxed two-volume unabridged edition from Everyman's Library), and those of more than a casual interest could just as well stop there, too. Vasari gave art history such terms as "Gothic," "Renaissance," and "Mannerist," and you can get all you want of that, and highlights of the most famous artists, from such abridgements. This fully unabridged edition, while essential to those fascinated by such art history, is simply not worth it to those of lesser interest. Too much of it -- indeed, most all of it -- reads like an endless list, artist after artist, simply mentioning the works each did in each place. That makes it about as compelling a read as your local phone book. Worsening matters is that Vasari by his own admission was no writer, and the translator notes in his foreword that he has striven to recreate that fault. Simple fact is, this is dry and boring to read, and your eyes will quickly glaze over with dulled incomprehension as you try. Those warnings aside -- don't say I didn't warn you! -- this is a handsome boxed edition, very attractive, with sewn-in bookmarks in each volume, a fine printing overall. And if you, like me, are determined to study such original sources in full, no matter how tedious, you will love this edition. From Duccio and Cimabue and Giotto forward, they're all here, with all their works detailed in endless, excruciating detail. We'll be intrigued to learn of, and dismayed to hear of, so many major works that were already lost by Vasari's day through fire, poor or experimental workmanship, intentional destruction, or even urban renewal. We'll even be angered to hear of known works that survived those first couple centuries only to be lost today. We'll absorb and appreciate those scant hints of sociopolitical background, of artistic technique and execution, of personal character as Vasari bothers to record. Nonetheless, eventually, our eyes will glaze over too, and then we'll appreciate even more the work of later, better art historians. Vasari was the first of art historians (unless you count Pausanius), but that sure doesn't mean he was the best. I recommend this edition for those with a devoted and serious interest in the subject only! I would also recommend it as bookshelf-candy, being a very attractive and handsome boxed edition, if you or a gift recipient have no intention of ever trying to read it, or wish to wean yourself off Sominex.

Good fun. Not to read continuously but to dip into when the mood strikes you. On the one hand gossipy on the other hand it constitutes the considered judgment of a talented painter on what I consider to be the greatest era of painting and sculpture in the history of the World. Being Italian may influence my opinion, but not too much. Vasari is not always 100% accurate, and he favors the Florentines, but is always interesting. As the Italians say, "Se non e' vero e' ben trovato".

A fascinating look at the lives of many fantastic artists. It was also wonderful to learn of other artists that are not in the normal Art History textbooks. A wonderful addition to my Art History books for use in my research papers.