In the 1550s and 1560s Giorgio Vasari renovated the Pieve聽and cathedral in his hometown of Arezzo and created several new altarpieces for the聽Pieve, where he established his family funerary chapel. These projects traditionally, and understandably, have been closely associated with Counter-Reformation tenets and treatises. The art and architectural history of both sites, however, suggests that Vasari was as much, if not more, invested in stressing continuity and cohesion of ritual and iconographic tradition, especially that of trecento Arezzo, over reformatory change and that his goal was to create an interdependent聽Aretine聽network of sacred history, family, and religiosity.
Sally J.聽Cornelison聽is a specialist in the history of Italian late medieval and renaissance religious art. Many of her publications concern art, devotion, ritual, and patronage as they relate to the cult of saints and relics in Renaissance Florence, including her book 鈥淎rt and the Relic Cult of St.聽Antoninus聽in Renaissance Florence鈥 (Ashgate, 2012). She currently is preparing a book-length study of Giorgio Vasari鈥檚 religious paintings and chapels.
This event will be followed by a reception in the Front Hall for our new 迟颈迟濒别听Revisiting the Monument: Fifty Years After Panofsky鈥檚 Tomb Sculpture.聽All welcome.