[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-133788-en":3,"doc-seo-133788-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":11,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},133788,13056703020460,"Valentina","https://ap-avatar.wpscdn.com/avatar/be000253dac470eee5d?_k=1778207105932848923",2,"Literature","Disegno versus Disegno stampato - printmaking theory in Vasari’s Vite context","Examines Vasari’s printmaking thought through the juxtaposition of “disegno” and “disegno stampato” within Le vite (1550-1568), focusing on how the revised biographies—especially Marcantonio Raimondi—construct a European history of prints. Tracks Vasari’s integration of drawing theory into the painting introduction and analyzes how heterogeneity, editorial compilation practices, and methodological choices shaped the text. Addresses major scholarly debates, including historical errors, technical inexperience, and source handling.","Disegno versus Disegno stampato: printmaking theory in Vasari’s Vite (1550-1568) in the context of the theory of disegno and the Libro de’ Disegni  \nBarbara Stoltz  \nOn the back of a letter he had received from Cosimo Bartoli in 1564, Giorgio Vasari compiled a list of ten enhancements to be made to the second edition of Le vite de’più eccellenti pittori, scultori e architettori, which was published four years later by Giunti.1 Most of these intentions were not brought to realization, for instance a project to write about Michelangelo’s unfinished marble sculptures. However, the theory of disegno, which is included in the list with the phrase ‘Find out what drawing means’, was incorporated into the well-known revised version of Introduction to Painting. Again, under point eight Vasari wrote: ‘The names of masters of copperplate, German, Italian, and French. The life of Marcantonio must be revised in order to put in all these masters’.2 Vasari fulfilled this aim literally: the chapter Life of Marcantonio Bolognese (Marcantonio Raimondi) basically presents a history of European prints from their beginning until the second half of the 16th century. This text is therefore considered the first historical and theoretical study of printmaking in the history of art. In it, Vasari discusses about four hundred and fifty engravings and about fifty engravers over three generations, from Italy, The Netherlands, Germany and Flanders.3  \nThe topic of Vasari and prints has been examined by a vast corpus of research literature. One should mention for example the well-researched articles by Evelina Borea and David Landau and the contributions to the standard books on Renaissance printmaking by Landau/Parshall, Frank Büttner and of course Michael Bury.4 Robert Getscher has recently published all the texts about prints from both editions of Vasari’s Vite, together with illustrations of all the engravings mentioned  \n1 See Giorgio Vasari, [Exh.cat](Exh.cat), Arezzo, Florence: Edam, 1981, 233; and: Karl Frey (ed.), Giorgio Vasari. Der literarische Nachlass, Hildesheim/New York: Olms, 1982 (reprint, Munich 1923), 3 vols., vol. 2, 77-79.(CDXLV, 29 April 1564) . For another annotation, again on a letter from Bartoli, see idem, vol.1, 613-622 (CCCXL, 17 April 1561) .  \n2 It is difficult to say what Vasari meant to ‘revise’. Either he was referring to the few lines about Marcantonio Raimondi in the Life of Raphael in the first edition, or to a text for the second edition that he had already prepared and that he had decided to enhance.  \n3 See Edward J. Olschewski, Introduction, in: Robert H. Getscher, An Annotated and Illustrated Version of Giorgio Vasari’s History of Italian and Northern Prints from his Lives of the Artists (1550 & 1568), Lewiston: The Edwin Mellen Press, 2003, 2 vols., vol. 1, XVI.  \n4 Evelina Borea,‘Vasari e le stampe’, in: Scritti in ricordo di Giovanni Previtali, special print, Prospettiva, 57/60 1989/1990,18-38; David Landau,‘Vasari, Prints and Prejudice, in: The Oxford Art Journal, 6,1, 1983, 3–10; David Landau and Peter Parshall, The Renaissance Print. 1470-1550, New Haven/London: Yale University Press, 1994; Frank Büttner, ‘Thesen zur Bedeutung der Druckgraphik in der italienischen Renaissance’, in: Robert Stalla (ed), Druckgraphik: Funktion und Form, symposium, Kunsthistorisches Institut München, München/Berlin: Deutscher Kunstverlag, 2001, 9–15; Michael Bury, The print in Italy. 1550–1620, London: British Museum Press, 2001.  \nwhich can be identified.5 Although Vasari’s work is generally recognized as one of the most important sources for understanding the art of printmaking in the Renaissance, the research literature also focuses on the defects in Vasari’s texts: no part of the Vite shows such a huge amount of historical mistakes, contradictions, lack of information or technical inexperience as the text about printmaking. For instance, Vasari wrongly attributed Marten van Cleef’s monogram “MC” to Martin Schongauer. One should","cbCaigUtMOpVa2WR","https://ap.wps.com/l/cbCaigUtMOpVa2WR","pdf",747432,1,20,"English","en",105,"# Introduction\n## Vasari’s plans and the disegno framework\n## Marcantonio Raimondi’s life as print history\n# Scholarship and research debates\n## Previous research on Vasari and prints\n## Errors, contradictions, and technical gaps\n# Methodological questions\n## Use of sources and philological heterogeneity\n## Vasari as chief editor and intentional contradictions\n# Paper focus and approach\n## Main question and scope over the two editions","[{\"question\":\"How does Vasari connect the theory of disegno to printmaking in his Vite texts?\",\"answer\":\"The theory of disegno is incorporated into the revised Introduction to Painting, and Vasari’s print-related entries—especially under Marcantonio Raimondi—embed drawing concepts into a broader printmaking narrative.\"},{\"question\":\"Why is the Life of Marcantonio Bolognese (Raimondi) significant for print history?\",\"answer\":\"It presents a history of European prints from their beginnings up to the second half of the 16th century and discusses numerous engravings and engravers across generations.\"},{\"question\":\"What kinds of mistakes and inconsistencies in Vasari’s printmaking account are highlighted by scholarship?\",\"answer\":\"Research points to historical errors, contradictions, missing information, and technical inexperience, including misattributions of monograms and confusion between Germany and Flanders.\"}]","Disegno versus Disegno stampato - 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