Lodovico Dolce and a critic to Giorgio Vasari’s Vite
This paper considers some aspects that link the Dialogo della pittura intitolato l’Aretino (1557), of the Venetian man of letters Lodovico Dolce, to the work Le Vite de’ più eccellente architetti, pittori et scultori italiani, da Cimabue, insino a’ tempi nost...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2012 |
| País: | Brasil |
| Institución: | Universidade Federal de Ouro Preto (UFOP) |
| Repositorio: | História da Historiografia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.www.historiadahistoriografia.com.br:article/379 |
| Acceso en línea: | https://www.historiadahistoriografia.com.br/revista/article/view/379 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanist historiography Renaissance Criticism Historiografía humanista Renacimiento Crítica Historiografia humanista Renascimento |
| Sumario: | This paper considers some aspects that link the Dialogo della pittura intitolato l’Aretino (1557), of the Venetian man of letters Lodovico Dolce, to the work Le Vite de’ più eccellente architetti, pittori et scultori italiani, da Cimabue, insino a’ tempi nostri (1550), of the Florentine historian Giorgio Vasari. It seeks to demonstrate along its lines that Dolce’s work was based on theoretical concepts exposed in the Vite, while reverting them to his own arguments in order to exalt the Venetian Cinquecento painting as cultural heritage, by matching it with the Tosco-Roman art, and stressing the importance of Titian’s painting, which was absent in the first edition of Vasari’s work. |
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