Investigatesthe major paintings and sculpture produced for the church of Ognissanti (All Saints) in Florence between about 1300 and 1500 under the artistic patronage of the religious order of the Humiliati.

One of the principal resources for study of Italian Renaissance art and artists, Vasari's Lives offers colorful, detailed portraits of the era's most representative figures. This single-volume edition spotlights eight prominent artists.

"The standard Italian edition of Vasari runs to nine volumes and covers a host of artists great and small. The Great Masters presents six of the most detailed and luminous biographies--the lives of Giotto, Botticelli, Leonardo da Vinci, Raphael, Michelangelo, and Titian. With an ear for gossip, Vasari recorded for posterity the particualars of their lives while giving early expression to the world's lasting admiration for their genius. Vasari's texts are thoroughly annotated in this volume and are accompanied by a chronology that clearly relates the artists' lives to the historical events of their time. Moreover, this book is unique among publications of Vasari for its inclusion of works of art dicussed in the text. Consequently, The Great Masters lavishly reproduces most of the important works of painting, sculpture, drawing, architecture by these six artists in 120 full-color plates and 127 black-and-white illustrations,. Twenty pages of color gatefolds give appropriate scope to such works as Botticelli's Primavera and Michelangelo's frescoes for the ceiling of the Sistine Chapel.--from the jacket

"Vasari's texts are thoroughly annotated in this volume and are accompanied by a chronology that clearly relates the artists' lives to the historical events of their time. The Great Masters lavishly reproduces most of the important works of painting. sculpture, drawing, and architecture by these six artists."--BOOK JACKET.

This catalog was "published by the Fine Arts Museums of San Francisco and DelMonico Books (Prestel) on the occasion of the exhibition of the same name at the Legion of Honor, San Francisco, from June 30 to September 30, 2018."

Alessandro di Mariano di Vanni Filipepi, better known as Sandro Botticelli ( 1445 – 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine school under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later as a "golden age", a thought, suitably enough, he expressed at the head of his Vita of Botticelli. Botticelli's posthumous reputation suffered until the late 19th century; since then his work has been seen to represent the linear grace of Early Renaissance painting. Among his best known works are The Birth of Venus and Primavera. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine and Umbrian artists to fresco the walls of the Sistine Chapel. The iconological program was the supremacy of the Papacy. Sandro's contribution included the Temptations of Christ, the Punishment of the Rebels and Trial of Moses. He returned to Florence, and "being of a sophistical turn of mind, he there wrote a commentary on a portion of Dante and illustrated the Inferno which he printed, spending much time over it, and this abstention from work led to serious disorders in his living." Thus Vasari characterized the first printed Dante (1481) with Botticelli's decorations; he could not imagine that the new art of printing might occupy an artist. The masterpieces Primavera (c. 1482) and The Birth of Venus (c. 1485) were both seen by Vasari at the villa of Lorenzo di Pierfrancesco de' Medici at Castello in the mid-16th century, and until recently, it was assumed that both works were painted specifically for the villa. Recent scholarship suggests otherwise: the Primavera was painted for Lorenzo's townhouse in Florence, and The Birth of Venus was commissioned by someone else for a different site. By 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticelli's study of the antique. But if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these paintings continue to receive widespread scholarly attention, mainly focusing on the poetry and philosophy of humanists who were the artist's contemporaries. The works do not illustrate particular texts; rather, each relies upon several texts for its significance. Of their beauty, characterized by Vasari as exemplifying "grace" and by John Ruskin as possessing linear rhythm, there can be no doubt. In the mid-1480s, Botticelli worked on a major fresco cycle with Perugino, Domenico Ghirlandaio and Filippino Lippi, for Lorenzo the Magnificent's villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.