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Lymberopoulou, Angeliki
(2023).
DOI: https://doi.org/10.4324/9780429291012-9
Abstract
This paper underlines the global aspect of Byzantine art by explaining how it was easily recognised by its fifteenth and sixteenth-century European audience, irrespective of whether they loved it or loathed it. In its process, it puts to the test one of the most prominent polemics against Byzantine art, that by the sixteenth-century art historian Giorgio Vasari, arguing that the essence and appreciation of Byzantine culture clearly eluded the famous author because existing contemporary evidence testify to a distinct knowledge and appreciation of Byzantine art.