The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist’s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists’ minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo’s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of

Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy

GIORGIO VASARI ’S NAME excited linguistic play among his friends and enemies. They called him Giorgetto, Giorgin, Giorgine, Giorgino, Vasaj, Vaso, and Vassellario. Some of these were innocent diminutives, marks of familiarity; others intentionally belittled a prolific painter and impresario. Some played on his father’s profession and Vasari’s servile status: Cristofano di Montaguto renames him “Giorgio Vasaj”; Giulio Cesare Gigli calls him “Tosco Vasaro” (the toxic potterer). The players included Alessandro de’ Medici; playwright and banker Antonio de’ Pazzi; antiquarian and archaeologist Bernardo Gamucci; apostolic notary Cosimo Bracciolini; architect, mapmaker, and mathematician Ignazio Danti; Benvenuto Cellini; and Vasari himself. The poet and chemist Antonfrancesco Grazzini (il Lasca) anaphorized Vasari’s name, syntactically mocking the regimented souls inhabiting Vasari’s heaven in the Florence Duomo: “I speak the truth, not from a loathing of others nor to disparage, but really Giorgin d’Arezzo, Giorgin, Giorgin must be blamed for Giorgin sinned.” At the etymological center of this confluence of meaningful names is the idiom “to do the George” ( fare il Giorgio). Early seventeenth-century dictionaries define fare il Giorgio as “to walk about with style, swanning about like a peacock,

Giving Vasari the Giorgio treatment

Giorgio Vasari : disegnatore e pittore : "istudio, diligenza et amorevole fatica"

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Giorgio Vasari : disegnatore e pittore : "istudio, diligenza et amorevole fatica"