Defining Artistic Identity in the Florentine Renaissance: Vasari, Embedded Self-Portraits, and the Patron’S Role
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt DEFINING ARTISTIC IDENTITY IN THE FLORENTINE RENAISSANCE: VASARI, EMBEDDED SELF-PORTRAITS, AND THE PATRON’S ROLE by Azar M. Rejaie BA, Louisiana State University, 1996 MA, Louisiana State University, 1999 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Azar Rejaie It was defended on March 28, 2006 and approved by Kathleen Christian, Assistant Professor, History of Art and Architecture Ann Sutherland Harris, Professor, History of Art and Architecture Dennis Looney, Associate Professor, French and Italian Barbara McCloskey, Associate Professor, History of Art and Architecture Dissertation Advisor: David Wilkins, Professor Emeritus, History of Art and Architecture ii Copyright © by Azar M. Rejaie 2006 iii DEFINING ARTISTIC IDENTITY IN THE FLORENTINE RENAISSANCE: VASARI, EMBEDDED SELF-PORTRAITS, AND THE PATRON’S ROLE Azar M. Rejaie, PhD University of Pittsburgh, 2006 Readers of Vasari’s Vite will be aware of the lively Renaissance tradition of the artist’s embedded portrait within commissioned works. We are told of numerous embedded self- portraits, a notion that earlier authors including Alberti, Filippo Villani, and Ghiberti, corroborate. This dissertation argues that the Vite, our most extensive source on the subject, set up ideas and expectations that continue to pervade our understanding of their purposes and functions. A primary aim here is to move beyond Vasari’s assumptions and examine self-images from the standpoint of their audience rather than their creators.
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