By returning to original sources, Natali succeeds in introducing a new Andrea del Sarto (1486-1530), one whose brilliant and moving pictures leap off the pages with startling freshness. Since the 16th century, Andrea has been pictured as a "timid soul, " a view first proposed in Vasari's Lives and perpetuated without revision by later writers. According to this view, the artist was so shy and irresolute that he squandered his gift, living in near obscurity and refusing prosperity and worldly honors.Not so, says Natali, who argues instead that Andrea chose a simple but culturally vibrant life in a circle of like-minded friends -- intellectuals and common folk who practiced material austerity and humility. How can we label as timid an artist who painted a fresco cycle in Florence's most prestigious sacred institution when he was barely twenty years old? asks Natali. How irresolute was the man who accepted an open-ended invitation from French king Francis to join his court in an era when few artists left Florence; who -- amid rigid orthodoxy and accusations of heresy -- filled his sacred paintings with bold theological content; who headed teams of renowned artists in learned artistic debates and in the execution of major commissions? With such provocative insights, this volume is certain to stimulate and delight art historians and nonscholars alike.
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Text: English (translation)
Original Language: Italian
Natali, director of Renaissance and Mannerist paintings at Florence's Uffizi Gallery, presents a summation of decades of work on del Sarto (1486-1530), one of the creators of the Mannerist style in Florence and France. Natali sets his vision of the artist against the traditional view, begun by Vasari, that del Sarto was a timid soul who wasted his talent. Instead, he shows del Sarto to have chosen a path that he rigorously followed in light of his humility and in a circle of like-minded friends and fellow artists. Not a catalogue raisonn?e (Natali defers to Sydney J. Freedberg's Andrea del Sarto, 1963, and John Shearman's Andrea del Sarto, 1965, as essentially complete catalogs), this book is rather a meditation based on a close reading of the artist's environment and a close look at the pictures. The text is readily accessible to the general reader, with a clear translation from the Italian original, excellent illustrations of del Sarto's Mannerist colors and forms, and a generous layout; beyond that, Natali's revisionist argument will attract an academic audience.AJack Perry Brown, Art Inst. of Chicago
Copyright 1999 Reed Business Information, Inc.
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