Writers such as Giorgio Vasari followed public opinion in judging the best painters above all on their production of large canvases of history painting, and artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited.

The contemporary opinion about this work – " a revelation of all the potentialities and force of the art of sculpture " – was summarized by Vasari: " It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.

When the Medici were temporarily banished in 1494, he returned to his friend, whose manner he copied so assiduously, according to Vasari, that his works were taken for Baccio's.

The main rooms were decorated by Vasari in an illusionist manner.

At Rome in 1532 he painted the chapel of Cardinal Enckenvoirt in the church of Santa Maria dell ' Anima ; and Giorgio Vasari, who knew him, says with truth that he fairly acquired the manner of an Italian.

" In painting Alberti achieved nothing of any great importance or beauty ," wrote Vasari.

Salai executed a number of paintings under the name of Andrea Salai, but although Vasari claims that Leonardo " taught him a great deal about painting ", his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d ' Oggione and Boltraffio.

Vasari, who is generally thought to have known the painting only by repute, said that " the smile was so pleasing that it seemed divine rather than human ; and those who saw it were amazed to find that it was as alive as the original ".

According to Vasari, Uccello ’ s first painting was a Saint Anthony between the saints Cosmas and Damianus, a commission for the hospital of Lelmo.

Art historian Giorgio Vasari wrote about Anguissola that she " has shown greater application and better grace than any other woman of our age in her endeavors at drawing ; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings.

The great early art historian Giorgio Vasari wrote this about Anguissola: " Anguissola has shown greater application and better grace than any other woman of our age in her endeavors at drawing ; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings.

According to Vasari, all Florentine painters studied his frescoes extensively in order to " learn the precepts and rules for painting well ".

His revolutionary approach to oil was such that a myth, perpetuated by Giorgio Vasari, arose that he had invented oil painting.

By 1556 — fewer than sixty years after it was finished — Leonardo's biographer Giorgio Vasari described the painting as already " ruined " and so deteriorated that the figures were unrecognizable.

It houses a 14th century Crucifix, a banner painted by Giorgio Vasari in 1572, a painting of Noli me tangere by Alessandro Allori ( 1584 ) and other artworks.

File: Firenze-interno duomo. jpg | The painting of the interior of the dome of Florence Cathedral was commenced by Vasari

This, says Vasari, was with the view of protecting the painting from damp ; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure.

Vasari states that Ghirlandaio was the first to abandon, in great part, the use of gilding in his pictures, representing by genuine painting any objects supposed to be gilded ; yet this claim is not applicable to his entire oeuvre, since the landscape highlights in, as an example, the Adoration of the Shepherds located, in modern age, at the Florence Academy, were rendered in gold leaf.

The painting, tempera on panel, displays such an unusual palette for this period that Vasari wrote that it had been painted in oil.

Of the same years is the Crucifixion in the Royal Museum of Antwerp: his early works shows a marked Flemish influence, which it is now understood he derived from his master Colantonio and from works by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon ; his biographer Vasari remarked that Antonello saw at Naples an oil painting by Jan Van Eyck ( the " Lomellini Tryptych ") belonging to King Alfonso V of Aragon ; Vasari's further narrative, that being struck by the new method, set out for the Netherlands to acquire a knowledge of the process from Van Eyck's disciples is discredited today.

:* Vasari, Giorgio-1 painting ;

According to the art historian Giorgio Vasari, Botticelli was a partisan of Savonarola: " he was so ardent a partisan that he was thereby induced to desert his painting, and, having no income to live on, fell into very great distress.

It houses a painting by Jacopo Chimenti, derived from a similar one by Giorgio Vasari.

A painting of 1511, described by Vasari but never positively identified, is believed by many musicologists to show Verdelot in Venice with an Italian singer.

He is described by some as the Vasari of Seville: voluble and didactic about his theories of painting and thoughts about painters, conventional and uninspired in his executions

He is said to have been instructed in painting by Salviati and Bronzino, in sculpture by Michelangelo Buonarroti, in architecture by Giorgio Vasari, and to have learned miniature painting under Giulio Clovio.

His work, in a 3-volumes folio edition ( 1715 – 1724 ), entitled El Museo pictórico y escala óptica, consists of three parts, of which the first two, on the theory and practice of the art of painting, have had little influence ; the third, however, with the subtitle El Parnaso español pintoresco laureado, is a mine of important biographical material relating to Spanish artists, which, notwithstanding its uneven style, has procured for the author the honor of being called the Spanish Vasari.

Vasari relates that if Leonardo saw a person with an interesting face he would follow them around all day observing them.

Giorgio Vasari in his book Lives of the Artists wrote that Uccello was obsessed by his interest in perspective and would stay up all night in his study trying to grasp the exact vanishing point.

This enormous work, 3, 600 metres² ( 38 750 ft² ) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579.

In 1565, as recorded by Vasari himself, Grand Duke Cosimo I de ' Medici decided to build the long corridor which would connect the old Priors ’ Palace in Piazza della Signoria with the new Medici residence, previously property of the Pitti family ; as this would pass through the church of Santa Felicita, the church began to play a very important role in the life of the Medici court.

Vasari and Cellini would give most of the credit for the book to Peruzzi, but more recent writers defend Serlio's part in the study and his good faith in completing the work of his companion.

A half-century after his death Correggio's work was well known to Vasari, who felt that he had not had enough " Roman " exposure to make him a better painter.

Vasari said of him " He did nothing but make bozzetti and finished little ", and modern commentators have remarked on the vitality of Bandinelli's terracotta models contrasted with the finished marbles: " all the freshness of his first approach to a subject was lost in the laborious execution in marble ... A brilliant draughtsman and excellent small-scale sculptor, he had a morbid fascination for colossi which he was ill-equipped to execute.

Francis Petrarch became a friend of Simone's while in Avignon, and two of Petrarch's sonnets ( Canzoniere 96 and 130 ) make reference to a portrait of Laura de Noves that Simone supposedly painted for the poet ( according to Vasari ).

Lucas enjoyed a great reputation in his day, and Giorgio Vasari ( who called him Lucas van Hollandt ) even rated him above Dürer.

Early Western writers who took special note of the content of images include Giorgio Vasari, whose Ragionamenti, interpreting the paintings in the Palazzo Vecchio in Florence, reassuringly demonstrates that such works were difficult to understand even for well-informed contemporaries.

Renaissance art biographer Giorgio Vasari does not even mention Fiorenzo's name, though he probably refers to him when he says that Cristofano, Perugino's father, sent his son to be the shop drudge of a painter in Perugia, who was not particularly distinguished in his calling, but held the art in great veneration and highly honoured the men who excelled therein.

Vasari thought that they were beautiful, and even fantastic.

Vasari used Properzia ’ s San Petronio as an example of how all women, even those who are great artisans, can not escape their " female " nature.

Vasari, himself under the patronage of Grand Duke Cosimo I de ' Medici, even favoured architects from the city where he resided, Florence, attributing to them innovation, while barely mentioning other cities or places further away.