1.) Vasari writes “But his [Leonardo’s] fame increased even more after his death” (pg. 285). To what extent (if any) is this Vasari’s doing?In other words, how responsible is Vasari for Leonardo’s post-mortem fame?

2.) How does Vasari’s “oratory of praise” style of writing (Rubins, pg. 97) serve to elevate the Life of Leonardo?

3.) How and why do you think Vasari chose the specific stories he did to tell the life of Leonardo?

4.) Who do you think is Vasari’s intended audience?

5.) What, if anything, does Vasari’s account of Leonardo’s life reveal about the artistic values of the time?

6.) Rubins writes “[Vasari’s] intention was to create an instrument of judgment by giving models for appraisal and action. The reading of the Lives was not conceived of as passive. The relation of past to present was interactive; one was meant to influence the other” (107)

art history
Order Description
PROMPT: What are some stereotypes of the Middle East that Nochlin indicates both fascinated and repelled Europeans in their construction of an “Imaginary Orient.” How did nineteenth century painters represent and depict the “Orient” for European viewers? In what ways do race, gender, and sexuality influence the conception of the “Imaginary Orient” in the European psyche.

art history
Order Description
PROMPT: What are some stereotypes of the Middle East that Nochlin indicates both fascinated and repelled Europeans in their construction of an “Imaginary Orient.” How did nineteenth century painters represent and depict the “Orient” for European viewers? In what ways do race, gender, and sexuality influence the conception of the “Imaginary Orient” in the European psyche.