By Ugo Guspini
Milano, Mursia, 1973, eightvo cartonato editoriale con sovraccopertina illustrata, pp. 262 .
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Extra resources for L'orecchio del regime. Le intercettazioni telefoniche al tempo del fascismo
And this I did to avoid that prolixity and tediousness which are the mortal enemies of attention. 18 Vasari goes on to give successful examples from the First Period from the art of Giotto. He notes that improvement occurs more in painting than in sculpture or architecture. Vasari describes the improvement in the Second Period in Preface Two: In the Second Period, all productions were, obviously, much ameliorated; richer invention was displayed, with more correct drawing, a better manner, improved execution, and more careful finish.
In the prefaces, Vasari unveils his art theory in which he considers the following notions: the creation of art; the imitation of nature; the periodization of history, including the concept of rebirth and affinities with antiquity; and moral judgments or religion. He put his theories into practice in his paintings as well. 16 One of Vasari’s goals in writing the prefaces is to provide a contextual history of Renaissance art, while at the same time presenting a manual for artistic practice, theory and behavior.
Vasari visualizes the analogy of history with a mirror’s reflection of human life. ”29 It is not surprising, then, that Vasari is considered to be the founder of the discipline of art history. Vasari clearly states his quest in Preface Two: In my biographies I have spent enough time discussing methods, skills, particular styles and the reasons for good, superior or pre-eminent workmanship; so here I shall discuss the matter in general terms, paying more attention to the nature of the times than to the individual artists.
L'orecchio del regime. Le intercettazioni telefoniche al tempo del fascismo by Ugo Guspini