Vasari's Thought On Artistic Education

Jul.30th.2011is the500th Birth Anniversary of Italian famous painter, architect,art historian Giorgio Vasari (1511—1574). In the center of the Renaissance-Florence,a series of the symposiums be held to commemorate this great man who madeoutstanding contributions to cultural development. In his famous art history writing,Lives of the Most Excellent Painters, Sculptors, and Architects (Le vite de piùeccellenti pittori, scultori e architettori)，which recorded vividly the life stories about160artists who lived during the Renaissance period, from Giovanni Cimabue,(1240—1300),Giotto di Bondone(1267－1337), to Michelangelo Simoni(1475—1564), allthe masters had maden gread great influence on the development of human arthistory. Not only his art history study, Giorgio Vasris achievements of art education isalso a hot topic in the research field.From my learning experience, and interest in art theory and practice, historyand other aspects, my thesis through the study of Vasaris life experience, artisticpractice, history books and paintings to explore aspects of his artistic thought,especially his art education practice.Vasaris art education ideology has the following three characteristics: First, theemphasis on painting, Vasaris art theory advocating artists should be natural for thenaturalistic philosophy of art imitating objects, which makes him the art of painting inthe learning process (objects of classical sculpture and nature of the thing itself)attaches great importance. Second, pay attention to the overall development ofhuman culture, he thinks artists in addition to techniques should be masteredanatomy, mathematics and philosophy and other disciplines.Third, the formation of aunified education through art artistic style, he hopes to organize a planned trainingand learning, to enable students to eventually form a fixed distinctive style andfeatures. Vasari founder of the Disengno Art Academy for Florence train more youngartists, it is also based on the above educational thinking.My thesis consists of four chapters. The first chapter introduces the Vasarihometown Arezzo in artistic environment of Renaissance as well as his personal life, including his learning career. The chapter beginnings with the introduction ofVasaris family and his art studying experience. Secondly, I combined with theexperience of Vasari to analyze the process of his future artistic education thoughtformation.The chapter also analysis the social condition in Renaissance Italy,especially the formation of humanistic movement circle city Arezzo, Florence, andthe other Tuscany areas. Followed by analysis of Renaissance art circle, including theprotection of guilds, companies, artisan workshops, and the change of artistssactivities and social status.To speak about the craftsmens social status in the middleages, they mainly engaged in decoration, layout, Hallows production services to theplaces of worship and religious activities. But with the rise of the coming of theRenaissance and humanism movement, gradually awakened the artists awareness ofself-protection. They demanded a higher social status than the craftsmen, areallowed to get public recognition, and resulting in painting, sculpture, architectureand visual art from the concept of "mechanical arts" gradually break away, into the"liberal arts". By the end of the sixteenth Century, famous artists, such as Cellini,Vasari and others in the upper society circle activities are very frequent. Obviouslythe old workshop and the organization has been unable to satisfied the artists ofRenaissance time, for this Cosimo I DeMedici(1519-1574) provides a goodopportunity to establish the "Disegno" academy under the support of the school.The second chapter introduces Vasaris theory of art education, which includeshis art theory foundation, his own concept of disegno and art practice. These twopoints as the basic framework of the educational thoughts of Vasari. Further more,the chapter discusses the climactic relationship between art and philosophy and alsoexamples the principles which Vasari pointed out of his art education. The aim of thesecond chapter is to contact Vasari’s thought of art that mentioned in the lives, onthe one hand, from the artistic point of view, he was influenced by the Neoplatondoctrine and Aristotle "theory of imitation", that the human soul can be sublimatedthrough art, closer to the "divine", make art become a noble cause. The naturalistictendency in Vasari from the "theory of imitation", believed that artists should takethe nature as an object. He also insisted that the artist should make a moral standards, for a good artist, has the talent and the good education are not missing.On the other hand, he also must have good moral character. This chapter alsointroduces Vasaris artistic practice, because all his art education idea cannot dowithout rich practical experience. Vasari gifted in many ways of art, made artachievements in many fields.In addition to art history books mde told, he alsoengaged in church frescoes, architectural design and indoor and outdoor celebration,know about the process and steps of the crafts and arts.The third chapter mainly introduces Vasaris Disegno Art Academy. The first partof this chapter introduces establishing in-process, teaching mode, and membersinvolved in the case. The second part discusses "Disegno" Academy as theexperimental field of the idea of Vasari, but also the history of the first Academy ofFine Arts, plays an important influence on later Western art education. This chapteralso analyses how Vasari combines art education theory and practice of their own asa whole, and he himself on the "Disegno" Academy of planning for the future. Vasariwants to "Disegno"to be a new association of artists, and to replace the traditionalguild and workshop. The process and significance of the combination of the school,this chapter according to the collected historical data to review, summarize. In asense, articles of association laid "Disegno" became the most important artinstitution of Florence art agency status.The third part reviews the development ofDisegno Academia for four hundred years, which laid Disegno to be one of importantart institutions over the world and made the deep influence to Western arteducation.The fourth chapter mainly talks about the development of the Disegno Academyof Eastern and Western art education.How Vasaris art education thought improve thedevelopment of Western art, help us to study his "Disegno" concept, which is amodern approach new art teaching ideas.Disegno Academia’s influence not onlyreflects on the art education model of Western art college after16th century. Itcrossed culture and transcended time.Even from today’s Chinese art education, westill could find some sign be left by Disegno Academia.