WorkGiorgio Vasari

Le vite de' più eccellenti pittori, scultori e architettori [Lives of the Artists]

Le vite de' più eccellenti pittori, scultori e architettori [Lives of the Artists] (1550, revised 1568) Inferred

Giorgio Vasari (1511–1574) · 1550, revised 1568

InferredHudspeth identified Fuller's familiarity with Giorgio Vasari's Lives of the Most Eminent Painters, Sculptors, and Architects, citing the life of Andrea del Sarto and the characterization of his wife Lucrezia del Fede. Fuller's description of del Fede as having a "bad" character with a "wild nature" and "what is called deviltry" closely mirrors Vasari's account of her as a manipulative, grasping woman who alienated del Sarto's friends. This archive entry identifies Margaret Fuller's engagement with Giorgio Vasari's *Le Vite de' più eccellenti pittori, scultori e architettori*.

AnalyzedQuotedReadMentioned

Documented 1847

Additional passages preserved in the Memoirs (1852)

Letters • Notebooks

Selected engagements, in chronological order.

Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →

When Fuller engaged with this work

I. Childhood

II. Adolescence

III. Self-Directed

IV. Transcendentalist

V. New York

VI. Europe1record

✦. Memoirs (1852)1record

1810

1820

1832

1836

1844

1846

1850

1847—

Letter to Caroline Sturgis

p289

analyzed · read

“Andrea del Sarto, in particular, one sees only there, and he is worth much.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. IV. Ithaca: Cornell University Press, 1987.

Inferred Hudspeth identified Fuller's familiarity with Giorgio Vasari's Lives of the Most Eminent Painters, Sculptors, and Architects, citing the life of Andrea del Sarto and the characterization of his wife Lucrezia del Fede. Fuller's description of del Fede as having a "bad" character with a "wild nature" and "what is called deviltry" closely mirrors Vasari's account of her as a manipulative, grasping woman who alienated del Sarto's friends.

Hudspeth identified Fuller's familiarity with Giorgio Vasari's Lives of the Most Eminent Painters, Sculptors, and Architects, citing the life of Andrea del Sarto and the characterization of his wife Lucrezia del Fede.

Undated

Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.

n.d.—

Notebook: Artists

p45, p66, p67

quotedManuscript page

“Vasari has said of Raphael's / Virgins "Mostro tutto quello / che di bellezza si puo fare, / nell'aria di una vergine, / dove sia accompagnata negli / occhi modestia, nella fronte / onore, nel naso grazia e / nella bocca virtù [...] whose / aimability, says Vasari, / was such that "non / seulement les hommes, / mais les animaux / euxmemes s'affectionnoient.”

Fuller, Margaret. "Notebook: Artists." Houghton Library, Harvard University; bMS Am 1086 (94); Box 6.

Preserved in the Memoirs (1852)

1852—

Memoirs of Margaret Fuller Ossoli

p46

read

“She read Condivi, Vasari, Benvenuto Cellini, Duppa, Fuseli, and Von Waagen — great and small.”

Emerson, Ralph Waldo, William Henry Channing, and James Freeman Clarke, eds. Memoirs of Margaret Fuller Ossoli. 2 vols. Boston: Phillips, Sampson and Company, 1852.

This archive entry identifies Margaret Fuller's engagement with Giorgio Vasari's Le Vite de' più eccellenti pittori, scultori e architettori.