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Prefiguring Ripa: Vasari's Virtues in the Chamber of Fortune

Prefiguring Ripa: Vasari's Virtues in the Chamber of Fortune Liana De Girolami Cheney "Vasari Adiuvat Ripam" ("Vasari Helps Ripa") Giorgio Vasari's importance in pioneering the codification of artistic and compositional elements within the emblematic tradition has long been overlooked. Yet his encyclopedic approach to the assimilation of the emblematic tradition establishes hirn as a forerunner of the iconographer, Cesare Ripa. Vasari's educational background and association with Renaissance humanists engendered his familiarity with the language and imagery of the emblematic tradition. This knowledge prompted hirn to appropriate and subsurne some of these images in his work, anticipating Ripa's figurazioni or emblems in his 1593 Iconologia.1 Vasari's paintings in the Casa Vasari at Arezzo, especially in the Chamber of Fortune (1548), a room in his horne, best illustrate the connection that enables us to regard Vasari as Ripa's precursor. Vasari's referential approach to the emblematic tradition can particularly be seen in his depiction of the allegorical virtues in this chamber. As Vasari recounts in his autobiography, his knowledge of emblems derives from his formal education in the classics with the humanists, Giovanni Pollastra and Pierio Valeriano; his contact with Andrea Alciato in 1540, when Vasari was painting the Refectory of San Michele in Bosco in Bologna; and his interactions http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

Prefiguring Ripa: Vasari's Virtues in the Chamber of Fortune

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Publisher
Brill
Copyright
© Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000347
Publisher site
See Article on Publisher Site

Abstract

Liana De Girolami Cheney "Vasari Adiuvat Ripam" ("Vasari Helps Ripa") Giorgio Vasari's importance in pioneering the codification of artistic and compositional elements within the emblematic tradition has long been overlooked. Yet his encyclopedic approach to the assimilation of the emblematic tradition establishes hirn as a forerunner of the iconographer, Cesare Ripa. Vasari's educational background and association with Renaissance humanists engendered his familiarity with the language and imagery of the emblematic tradition. This knowledge prompted hirn to appropriate and subsurne some of these images in his work, anticipating Ripa's figurazioni or emblems in his 1593 Iconologia.1 Vasari's paintings in the Casa Vasari at Arezzo, especially in the Chamber of Fortune (1548), a room in his horne, best illustrate the connection that enables us to regard Vasari as Ripa's precursor. Vasari's referential approach to the emblematic tradition can particularly be seen in his depiction of the allegorical virtues in this chamber. As Vasari recounts in his autobiography, his knowledge of emblems derives from his formal education in the classics with the humanists, Giovanni Pollastra and Pierio Valeriano; his contact with Andrea Alciato in 1540, when Vasari was painting the Refectory of San Michele in Bosco in Bologna; and his interactions

Journal

Explorations in Renaissance CultureBrill

Published: Dec 2, 2008

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