There is Vasari the painter, Vasari the architect and courtier, Vasari the academician and, last but not least, Vasari the author whose name—and we have to consider carefully what this claim means—appears on the title page of his text, Le vite de’ più eccellenti architetti, pittori e scultori, published first in 1550 and then again in 1568 in an enlarged edition. Unlike the purely cynical marketing strategies in the mainstream of the music business and the art world, Kippenberger’s Selbstdarstellung contained a complex economy of checks and balances, promotion and self-effacement, exuberance and humility, gut-splitting humour and profound melancholia. The most recent new English translation is by Peter and Julia Conaway Bondanella, published in the Oxford World's Classics series in 1991. Vasari on technique: being the introduction to the three arts of design, architecture, sculpture and painting, prefixed to the Lives of the most excellent painters, sculptors and architects.

There was no good reason why Someone Else and I split up besides different senses of humour and views on economics - which are two no good major reasons. Chúng có khả năng cách nhiệt và kín gió tốt, giúp bảo vệ phòng ngủ khỏi tác động của thời tiết bên ngoài.Brunelleschi’s initial proposals for the dome of the Duomo in Florence being met with ridicule, and after heated exchanges, being carried out as onlookers thought he was deranged. Born to a cosmopolitan family, the son of a Cuban diplomat in Paris, he never dabbled in bohemianism.

Unlike these life artists, those under discussion here are uninterested in the documentary or narrative framing of their lives, nor are they committed to the veracity of the tales they use in their works. From world-renowned curator Hans Ulrich Obrist, Lives of the Artists, Lives of the Architects offers a unique opportunity to learn about the lives and creativity of the world's leading artistsHans Ulrich Obrist has been conducting ongoing conversations with the world's greatest living artists since he began in Switzerland, aged 19, with Fischli and Weiss. Art historian and film theorist Annette Michelson has chosen the term ‘prelapsarian’ to characterise the first period. Giorgio Vasari (1511-1574) was an artist, architect, and friend to Michelangelo, so his ‘sketches’ of the lives of Italian artists from the 13th to the 16th centuries is of special interest - it’s art history by a guy who was essentially ‘right there’.

In 1550 he published his book Lives of the Artists – in full, Le Vite de’ Più Eccellenti Pittori, Scultori, ed Architettori (The Lives of the Most Eminent Painters, Sculptors and Architects).

Dadaist conspirator, enfant terrible of the Surrealist revolution, friend and occasional collaborator of André Breton, Marcel Duchamp, Man Ray and Tristan Tzara, the French artist Francis Picabia (1879–1953) has an indisputable place within the pantheon of the historical avant-garde.

Despite the ease with which we merge the figure of Warhol with today’s entertainment-obsessed society, there is little interpretation of the relationship between his construction of his persona and its direct impact on his art. For Michelson, the prelapsarian Warhol reflected the ills of mainstream culture through irony-soaked parody. Between his first and second editions, Vasari visited Venice and the second edition gave more attention to Venetian art (finally including Titian) without achieving a neutral point of view. I confess it’s a little tough to read through some sections of this book, as Vasari has a tendency to abbreviate the actual lives of these artists and describes their work one piece after another in detail, so I skimmed at times.