‘From the Vite or the Ritratti? Previuosly Unknown Portraits from Vasari’s Libro de’ disegni’, I Tatti Studies, XXI, 1, 2018, 105-36 (original) (raw)

Abstract

of the Arts in Qatar THE PROCESS OF PRODUCING woodcut portraits to illustrate the second edition of Giorgio Vasari's Vite, published in Florence by the Giunti in 1568, was laborious, long, and complicated. 1 From his correspondence with the historian and collector Paolo Giovio, it is possible to gather that the Aretine harbored ambitions for such illustrations for the publication in 1550 of the first edition of his book by Lorenzo Torrentino and was already considering prototypes for such portraits at

Key takeaways

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  1. The production of woodcut portraits for Vasari's Vite spanned from 1560 to 1568, involving multiple artisans.
  2. Vasari's Ritratti comprises 144 portraits, showcasing a significant investment in artistic representation.
  3. Each portrait is framed with distinct motifs reflecting the artistic discipline of the subject.
  4. The Ritratti was printed separately from the Vite and allows for flexible presentation of images.
  5. The text examines the interconnectedness of Vasari's projects: Ritratti, Vite, and the Libro de' disegni.

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References (9)

  1. The publication is described as "Ritratti de Pittori è Scultori. 4": Catalogus librorum qui in Iunctarum bibliotheca Philippi haeredum Florentiae prostant (Florence, 1604), 528. Copy consulted: BNCF, Magl. 12.8.323. See Pettas, Giunti of Florence, 729-30.
  2. On bookbinding practices in Renaissance Italy, see the work of Anthony Hobson, esp. Human- ists and Bookbinders: The Origins and Diffusion of Humanistic Bookbinding (Cambridge, 1992). See also Julia Miller, Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bind- ings (Ann Arbor, MI, 2014);
  3. Mirjam M. Foot, Bookbinders at Work: Their Roles and Methods (London, 2006);
  4. Paul Needham, Twelve Centuries of Bookbindings, 400-1600 (New York, 1979).
  5. Ritratti, no. 37; Vite, 1, pt. 2, 274. Other examples of variations of frames between the editions are Fra Filippo Lippi (Ritratti, no. 53; Vite, 1, pt. 2, 385), Filippino Lippi (Ritratti, no. 76; Vite, 1, pt. 2, 492);
  6. Vittore Carpaccio (Ritratti, no. 80; Vite, 1, pt. 2, 517);
  7. Pordenone (Ritratti, no. 108; Vite, 2, pt. 3/1, 182).
  8. Gregory, Vasari and the Renaissance Print, 122 n. 109; Pon, "Lives and Afterlives," esp. 245.
  9. Vite, 1, pt. 1, 418, Vita di Desiderio da Settignano: "Nel nostro libro sono alcune carte disegnate di penna da Desiderio, bellissime" (In our book there are certain very beautiful pen drawings by Desiderio), from Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects, trans. Gaston du C de Vere (London, 1912-14), 3:149; Vite, 2, pt. 3/1, 31, Vita di Bramante: "Andò Bramante ne servitii di questo pontefice a Bologna quando l'anno 1504 ella tornò alla chiesa & si adoperò in tutta la Guerra della Mirandola a molte cose ingegnose, e di grandissima importanza fe molti disegni di piante e di edifitii che molto bene erano disegnati da lui come nel nostro libro ne appare alcuni ben misurati et fatti con arte grandissima" (In the service of that Pontiff Bramante went to Bologna, in the year 1504, when that city returned to the Church; and he occupied himself, throughout the whole war against Mi-

FAQs

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What insights does the paper provide on Vasari's production timeline for portraits?add

The research indicates that cutting the woodblocks for Vasari's portraits began in Venice in 1560 and continued until at least Autumn 1567, as confirmed by correspondence from Vasari and Cosimo Bartoli.

How did the empty frames in the Ritratti reflect Vasari's artistic choices?add

The Ritratti included eight blank frames for missing portraits, a choice reflecting Vasari's commitment to authenticity over hypothetical representations, noting that a lack of a portrait was preferable to inserting a fictive one.

What does the variation between Vite and Ritratti suggest about their relationship?add

The variations show that the Ritratti was a consciously planned separate edition rather than mere proofs from the Vite, revealing a complex interplay in the publishing process and portrait framing.

How did Vasari's drawing techniques influence the final printed portraits?add

Vasari's preparatory drawings were not only integral to the portraits but also shaped the frames, demonstrating his direct involvement in the printing process and quality of the artworks produced.

What significance does the study attribute to Cosimo Bartoli's role?add

Cosimo Bartoli served as a critical intermediary ensuring the portraits' production quality, as indicated by his direct communication with Vasari regarding the woodblock cutting and shipping logistics.