Tag Archives: Uffizi

The Men and the horses exhibit at the Boboli garden

Men and horses story at the Limonaia in Boboli Garden

from 26 June to 14 October, the exhibition Men and horses sets out to explore this age-old bond through a selection of items, often overlooked in exhibitions to the benefit of more eye-catching works, illustrating the myriad facets of a relationship that impacted every aspect of daily life.

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The third summer festival Uffizi Live is on

Third edition of Uffizi Live is on. It’s the summer festival of live performances taking place on each Tuesday evening from 7pm to 9pm from 12th June to 25th September.

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The new room of Leonardo da Vinci at the Uffizi

FLORENCE, ITALY – After the arrangement of the new rooms dedicated to Caravaggio and the 17th-century painting, and the one devoted to Michelangelo and Raphael last month, a new room hosting Leonardo da Vinci’s paintings has been inaugurated on 9th July 2018 at the Uffizi Gallery in Florence, Italy.

According to Vasari, it was 1504 when young Raphael arrived in Florence in order to admire Leonardo’s and Michelangelo’s preparatory cartoons for the two famous Battles of Anghiari and Cascina respectively, which were to be frescoed in Palazzo Vecchio.

Hence it was an extraordinary and unique moment in history, when the three geniuses happened to meet together in the city of Florence. And, as it is, from today those three giants of the Renaissance can finally meet again and be admired in two new adjacent rooms on the second floor of the Uffizi.

As in the case of Michelangelo and Raphael, also Leonardo’s paintings are preserved in special climate-controlled cases saving the artworks from the humidity and heat produced by tourists’ flow. Besides their glasses are anti-glare too, which allows visitors to get so extremely close to the paintings to almost touch them.

On the left is the Baptism of Christ, executed for the Church of San Salvi in Florence in 1475/78, where young Leonardo collaborated with his master Andrea del Verrocchio realizing the angel in profile.

On the opposite wall is the Annunciation, from the Church of Monte Oliveto, where the angel is so real and alive to project his own shadow over the meadow in bloom while he is landing and closing his fans, apparently reproduced after studying real birds’ anatomy. On the background is a sea landscape with mountains, one of the most beautiful ever represented by the artist in his career.

In the centre is the recently restored Adoration of the Magi, commissioned by the Augustinians for their Church of San Donato a Scopeto and left unfinished when Leonardo had to move to Milan in 1482. Yet it is this very state that allows to follow Leonardo’s mind’s creative processes, in all his sketches, ideas, second thoughts and reconsiderations.

“The new arrangement – says Director Eike Schmidt – allows a slower and more thoughtful visit in which it is possible to compare and understand the stylistic development of young Leonardo. And it is also part of those necessary changes the museum is undergoing in order to be more informative, clear and comprehensible at large”.

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Caravaggio's Medusa

The new Caravaggio’s rooms at the Uffizi

FLORENCE, ITALY – The eight rooms on the first floor of the eastern wing of the Uffizi opened with a new layout devoted to Caravaggio and the painting of the 17th century on February 19, 2018.

The names of the eight rooms are evocative: Between Reality and Magic; Caravaggio and Artemisia; Caravaggio: Medusa; Caravaggio: Bacchus; By Candlelight; Rembrandt and Rubens; Galileo and the Medici; and  Florentine Epic. The lion’s share obviously goes to Caravaggio, the unquestioned pivot of painting in a century characterised by strong passions, symbolism and often extreme innovation.

The age’s passionateness determined the colour choice of red for the panels in the rooms along the corridor (in order to avoid intervening directly on Vasari’s original colour scheme) and for the walls of the inner rooms (from 96 to 99). Not a flaming, over-the-top red but a red that is often found in the fabrics and decor depicted in the paintings of those years, developed on the basis of a textile sample of the period and manufactured with natural pigments already in use in the 17th century: a real yet almost “filtered” red, as one might say.

Uffizi Galleries’ Director Eike Schmidt stated: “The new layout is based on a thematic and artistic approach designed to inspire and to stimulate the visitor’s curiosity, carrying him or her back into the atmosphere of the time and into the history of the Medici’s collections. The idea is to create an intellectual experience both for the non-specialist and for the expert. Thanks to the juxtaposition of paintings from Florence and the rest of Italy with pictures from northern Europe, we have recovered the international spirit informing the taste of the period, which was open to influences from every country.”

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“Between Reality and Magic”, the first room, contains paintings by artists who were active in the 16th century but already paved the way towards a new artistic approach that left the Mannerist ideals behind. Also on view are highly unconventional, playful and even bizarre subjects such as Annibale Caracci’s Man with an Ape. Other works are exemplary of the learned culture suffused with symbolic meanings, which is characteristic of the region in which Caravaggio trained. This is the case, for instance, with the Dossi brothers’ Allegory of Hercules (once thought to be a scene of witchcraft) and with the enigmatic Witch Strangling a Putto of intensely discussed attribution.

The following room, “Caravaggio and Artemisia”, is dominated by a biblical subjects, which revolve around the theme of violence. It showcases an extremely fine David and Goliath by Guido Reni, which will be facing Caravaggio’s Sacrifice of Isaac as of June when it returns from the exhibitions in Milan and in Forlì; until then, the gap will be filled by an ancient copy of Caravaggio’s Incredulity of St. Thomas, which was already documented in the collection of Carlo de’ Medici by 1666. This room also houses Artemisia Gentileschi’s Beheading of Holofernes, one of the Uffizi’s most famous paintings.

In the room dedicated to Caravaggio’s Medusa, a magnificent painted parade shield is displayed in a new case against the backdrop of a large red panel. On the walls, in addition to Cecco Bravo’s Armida, a recent donation from the Friends of the Uffizi, it is worth highlighting the presence of a Roman statue of Minerva with the head of the Gorgon on her breast, and a painting of the Gorgon’s head crowned in writhing serpents painted by Otto Marseus van Schrieck but attributed in past centuries to Leonardo da Vinci and thus formerly admired by countless travellers as one of the most celebrated paintings at the Uffizi.

The next room is devoted to still-life. Surrounding Caravaggio’s Bacchus we find two Larders by Empoli, a vase of flowers by Carlo Dolci and a still-life by Velázquez clear echoing the work of Caravaggio.

“By Candlelight” is the name of the next room, which is given over to the depiction of candlelit scenes. In the centre, a Nativity by Gherardo delle Notti (Gerard van Honthorst) in which the light appearing to model the figures in the scene is actually emanating directly from the Christ Child; around it, a number of genre paintings by Bartolommeo Manfredi, Mathias Stamer’s Annunciation and Bartolomeo Manfredi’s Roman Charity.

Works by the greatest masters of European painting of the period follow in the next, especially large room. The faces portrayed by Rembrandt, Rubens and Van Dyck in small- and large-format paintings form a succession of rightly famous works which, brought together in this way, comprise a breathtaking group full of cues prompting a reflection on the great painting of the 17th century, which was primarily European on account of the lively circulation of ideas and of the many, ongoing contacts among artists and patrons who cared little for national borders or boundaries.

European portraiture goes hand in hand with Florentine portraits: pride of place in the following room goes to the Portrait of Galileo Galilei and to a monumental triple portrait of Cosimo II, Maria Magdalena of Austria and their son Ferdinando II, both by Justus Sustermans.

In the last room in the tour, “Florentine Epic”, we find a spectacular Rinaldo and Armida by Cesare Dandini inspired by Tasso’s poem, and a small, precious St. Catherine of Alexandria by Francesco Furini. Literary themes taken from Ludovico Ariosto’s Orlando Furioso and Torquato Tasso’s Gerusalemme Liberata were far and away the most popular subjects in Florence in the first half of the century. They were popular both on account of their nature as modern mythological fables and for their moral symbology, which people read into the stories of the heroes and heroines of both those chivalric poems.

The Uffizi acquires a spectacular painting by Johann Paul Schor

The Uffizi acquires a spectacular painting by Johann Paul Schor, a leading light in the decorative Arts of the 17th century.

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The Chimera at the National ArchaeologiclMuseum of Florence

The Uffizi ticket will include the Archaeological Museum​​​​

Every ticket to the Uffizi will also include free admission to the National Archaeological Museum​​​​, this is the agreement signed in Florence, Italy.

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Firefighters at the Uffizi Gallery in Florence

Firefighters rushed to Florence’s Uffizi gallery

Firefighters rushed to Florence’s Uffizi gallery on Thursday November 30, 2017.

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Da Vinci's Codex is set to return to Florence

Da Vinci’s Codex Leicester is set to return to Florence

Leonardo da Vinci’s Codex Leicester is set to return to Italy for the first time in over 20 years.

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The Japanese Renaissance

The Uffizi celebrate the Japanese Renaissance

The splendour of Japanese artistic culture and its close relationship with nature: 39 amazing painted screens on view at the Uffizi Gallery.

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The free controlled wi-fi connection in the Uffizi Gallery is now available

A new digital season for the Uffizi Gallery

The new website opens a brand new season for the Uffizi Galleries.

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