Uffizi Florence.
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The collection features masterpieces of the Uffizi, by the early thirteenth and fourteenth century Tuscan (Cimabue, Giotto, Duccio of Boninsegna ), to works of the seventeenth century (Caravaggio) and eighteenth-century Venetian and English. Not to mention the masterpieces of the collection Bonacossi Contini, the most important collection of portraits in the world, partly exposed in the Vasari Corridor , and one hundred and eighty four series of portraits of famous men and Giovio Aulica. However, the main core of the Uffizi is certainly that of the extraordinary works of the Renaissance. For the most important Florentine artists ( Lippi, Pollaiuolo, Botticelli, Leonardo) alongside works of schools in Northern Europe with some important Flemish and German (Va der Weydn der Goes , Memiling , Dùrer , Altdorfer ) Non meno significativa è la presenza di dipinti del Cinquecento, con opere di scuola veneta ( Bellini, Giorgione , lotto, Tiziano. Tintoretto), in ideale confronto con i coevi capolavori della maniera fiorentina( Raffaello, Andrea del Sarto, Rosso Fiorentino, Pontormo, Bronzino, Michelangelo.
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The collection features masterpieces of the Uffizi, by the early thirteenth and fourteenth century Tuscan (Cimabue, Giotto, Duccio of Boninsegna ), to works of the seventeenth century (Caravaggio) and eighteenth-century Venetian and English. Not to mention the masterpieces of the collection Bonacossi Contini, the most important collection of portraits in the world, partly exposed in the Vasari Corridor , and one hundred and eighty four series of portraits of famous men and Giovio Aulica. However, the main core of the Uffizi is certainly that of the extraordinary works of the Renaissance. For the most important Florentine artists ( Lippi, Pollaiolo Botticelli, Leonardo) alongside works of schools in Northern Europe with some important Flemish and German (Va der Weydn der Goes , Memiling , Durer, Altdorfer ) No less significant is the the presence of paintings of the sixteenth century, with works by Venetian school (Bellini, Giorgione , lot, Tiziano. Tintoretto), in comparison with the great masterpieces of contemporary Florentine manner (Raphael, Andrea del Sarto, Rosso Fiorentino, Pontormo, Bronzino, Michelangelo .
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@ @ @ @ The Uffizi gallery in an eighteenth-century painting by J. Zoffany
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@ @ @ @ Mathematics. Detail with two cherubs : one holds the compass nautical launch, the other a graphometer. Fresco with touches tempera Agnolo Gori, 1663 (Galleria degli Uffizi, Florence
Angie musician.
Rosso Fiorentino-1521-
olio su tavola-39x47 cm
Nelle collezioni dal 1605.
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Amatissimo nei secoli il dipinto, da attribuirsi alla maturità dell'artista, dal 1605, is in the public gallery to the Uffizi soft child face by squinting and rosy cheeks and dreamy glimpse of the beatific smile that make this angiolino remain etched in the memory of every visitor to the forum .. Recent analysis of the work, follow the restoration completed in 2000, showed that this is a significant likelihood of an unknown fragment of the altarpiece lost.
Raphael's Madonna of the Goldfinch, 1506 oil on panel,
107 × 76 cm Galleria degli Uffizi from 1666
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The beautiful Madonna is among the most celebrated examples of Raphael's Florentine period. The theme of the Madonna has repeatedly been taken by the artist. (The Madonna of Belvedere, in the Museum of Vienna. The beautiful gardener's Louvre, Madonna Newfoundland Museum in Berlin) In this masterpiece we see that the glazing attenuate the outlines of figures and increase i volumi in grazia. E' questa perfezione, la dolce e serena armonia che ha reso nei secoli famoso questo dipinto. I paesi visibili sullo sfondo sono parti di uno spazio che coinvolge le figure del gruppo e ruota intorno a loro comunicando allo spettatore una serena visione affettiva di una landa viva e familiare. Disegni preparativi di questo dipinto si trovano all' Ashmolean . Museo di Oxford,
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The name of the Goldfinch
apparently derives its origin from the Latin word - cardus , because , this animal prefers to eat just cardi.Pianta whose thorns allude to those imposed on the crown of Christ before the crucifixion, hence the 'interpretation of the Goldfinch as a symbol of passion in this scene Jesus lovingly caressing the bird but also with melancholy eyes, foreshadowing the Passion that will address
apparently derives its origin from the Latin word - cardus , because , this animal prefers to eat just cardi.Pianta whose thorns allude to those imposed on the crown of Christ before the crucifixion, hence the 'interpretation of the Goldfinch as a symbol of passion in this scene Jesus lovingly caressing the bird but also with melancholy eyes, foreshadowing the Passion that will address
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The slender trees silhouetted against the sky, will be continued by the imitation of contemporary artists to become a typical feature of sixteenth-century painting
The slender trees silhouetted against the sky, will be continued by the imitation of contemporary artists to become a typical feature of sixteenth-century painting
Spring Sandro Botticelli, c. 1482-tempera on wood. 203x314 cm-In the collections from 1919
Spring, is considered the most famous painting Uffizi, sublimation of sensual love, the painting was done for Lorenzo di Pierfrancesco de 'Medici, a cousin of Lorenzo the Magnificent, the same client for which Botticelli illustrated Dante's Divine Comedy. The works decorate a room in the Medici Villa di Castello, near Florence. On the death of Lorenzo's work and went to the Villa di Castello Giovanni delle Bande Nere. In 1815 he entered the painting in the Uffizi, then transferred alla'accademia, finally returned to the Uffizi in 1919 The allegory seems inspired by the texts of Ovid and Lucretius Allegory is one of the highest expressions of the golden age returns Florence under Lorenzo the Magnificent.
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Gli alberi d'arancio del giardino di Venere sono carichi di frutti e fiori
profumati e le foglie si stagliano
sul cielo chiaro come delicata filigrana.
Le tre giovani danzanti sono sotto il tiro di Cupido, dio bendato dell'amore, derivano da immagini antiche delle Grazie: in senso più propriamente platonico, sono allusione al rapporto fra l'elemento divino e quello umano, i veli trasparenti e leggerissimi sui bianchi corpi esaltano le forme sensuali delle danzatrici e ricordano gli elegantissimi veli di Filippo Lippo , artist much admired by Botticelli. 
In 1982, some botanists have identified about two hundred different species of flowers portrayed from life, many of them still flourish on the surrounding hills and meadows to the Villa Medici at Castello
The Return of Judith to Betulia - Sandro Botticelli-1470-about temper on board-31x24 cm The collections from 1632.
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early work of the artist formed, together with the discovery of the corpse of Holofernes, too 'it in the Uffizi. Judith, the biblical heroine of the Jewish people, a symbol of virtue and justice back to Betulia after killing, beheading him in his sleep, Holofernes, general manager of the hostile army siege of his city following the Abra, her maid, holding up a basket on her head. The wind picks up the white cloth that covered the grisly trophy: the head of Holofernes .. The morning light illuminates the valley traversed by a river: the light of a new day that wakes the nature and the hopes of freedom and justice in the precious veil of hairstyles and clothes you can admire the play of light that create lines curves and sensual, it captures the influence of this painting by Filippo Lippo ... the beautiful face of Judith, there is no trace of any violence. The face expresses the melancholy of those who can not avoid or withdraw from the will and the will of a superior entity that guides his actions and his destiny. Verrocchio and Leonardo. Tempera and oil on canvas.
180 x 152 in the collections since 1914
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The panel depicting the baptism of Christ is the only pictorial work of Verrocchio and that we have comes from the Florentine monastery of San Salvi Started by Verrocchio around 1470, and was then abandoned after a few years back and finished by Leonardo, who retouched in some areas already painted oil tempera. It seems that Verrocchio was usually stop his work, Vasari, however, said that the teacher stopped painting this work, rejected by the greatness of his pupil Leonardo. Particular character was Verrocchio, goldsmith, sculptor and painter, with a major workshop in Florence, from which came talents as Leonardo, Perugino, Lorenzo di Credi and even Botticelli.
Madonna Tickle Masaccio-1426 About
tempera tavola24, 5x18, 2cm in collections since 1988
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The beautiful table is known as the Madonna of tickling the affectionate gesture with which the Virgin, as any mother plays with the child, and the amused smiles at her son's hand gripping. Masaccio painting translates into the sweet desserts very human feelings, he manages to capture the spontaneity of the gesture of the young mother. The tablet was painted for private destination, probably commissioned by Antonio Casini, who was appointed cardinal in 1426. This confirms the family crest in the shape of a shield, surmounted by a cardinal's hat, painted on the back of the table .. The table was discovered in 1947 among the works stolen by the Nazis in World War II e. recovered, came first in the collection Looser of the old palace and then to subject Uffizi.Il runs the Sienese painting of the Madonna from spontaneous gestures so dear to the Lorenzetti. 
Madonna and Child with Angels-Phillip
about Lippi-1465-
tempera on panel-93x62, 5cm.
In the collections from 1796 .
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@ @ @ @ The master of the '400 Fra 'Filippo Lippi led an irregular life, fell in love with the nun Lucrezia Buti she had two children. This encounter left an indelible mark in his works: All the female characters portrayed by him from that moment on, have the shape of the mother of his figli.Capolavoro the maturity of Lippi, just before the frescoes in the Duomo of Spoleto, is among the finest examples of fifteenth-century painting. The painting was probably commissioned for the Medici villa of Poggio Imperiale di Cosimo de 'Medici, loyal customer and intervened in many circumstances to help the monk painter from the scandalous love affairs of Brother .. It seems that the sweet face of the Virgin, represented elegantly ruffled with a slight veil over her hair and adorned with pearls The painter was inspired by Lucrezia Buti, the nun with whom he had fallen in love and with whom he had a daughter and a son named Filipino, also a painter, who joined his father in Spoleto.
The artist creates a picture within a picture with prominent figures from the stone frame of the door frame and smashes the space penetrating into the viewer by involving them in the narrative in an everlasting. The child and two angels, similar to ancient cherubs, reminiscent to the delicacy of the lines, pads, inspired by the classicism of Donatello and Luca Robbia.Lo the background of this work, anticipates the landscapes of Leonardo: the silver reflections, shading by the hair, the embroidery and crystalline gems, relax in the distance, rivers, hedges and towering cities.
The artist creates a picture within a picture with prominent figures from the stone frame of the door frame and smashes the space penetrating into the viewer by involving them in the narrative in an everlasting. The child and two angels, similar to ancient cherubs, reminiscent to the delicacy of the lines, pads, inspired by the classicism of Donatello and Luca Robbia.Lo the background of this work, anticipates the landscapes of Leonardo: the silver reflections, shading by the hair, the embroidery and crystalline gems, relax in the distance, rivers, hedges and towering cities.
Majesty of Cimabue
about 1280 Tempera on panel. Size
about 1280 Tempera on panel. Size
385 X 223 cm in the collections from 1919
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The dark veil that frames the face of the Virgin stands for color contrast, on a gold background space sovrannaturale.Contrasto damped by short lines that translate golden Byzantine taste, including a summary abstract, the movement of tissues.
@ @ @ @ Madonna Rucellai, or Madonna of Laudesi,
tempera on panel (290 cm x 450)
-Florence, Galleria degli Uffizi
In the collections from 1919
Before the work of the Sienese painter, was commissioned by the Confraternity of the chapel of St. Laudesi And Maria Novella 'known as the Rucellai Madonna, because the end of the seventeenth century was shown in the Rucellai chapel. The Duccio says here his sweet poetry of intimacy and romance, the artist manages to instil in painting the human and friendly feelings to vibrate musically the image is' the gentle light that guides the choices of Duccio: a preferred construction for the throne light, resting on arches, and to give the sense of three-dimensional guide the throne front, but a little 'to the right and a curtain of precious fabric, a floral curtain behind the Virgin, create a plan of impalpable lightness between the background and figure.Sei Angels, arranged trono.Diversamente symmetrically on either side of the Angels of the Majesty of Cimabue, these stylish cutouts on a background unreal appear to be without weight, read spiritual entities, suspended in a silence empyrean.
Majesty Giotto
@ @ @ @ This book, Madonna in Majesty (325 cm × 204),
is remembered as one of the most famous works of Giotto.
Nelle collezioni dal 1919
L'immensa pala, nota come Madonna d'Ognissanti dal nome della chiesa per la quale fu eseguita, inaugura il nuovo corso della pittura fiorentina che si orienta verso una ricerca spaziale volumetrica e di maggior realismo. Gitto rispetta solo esteriormente la tradizione toscana, assumendo il fondo oro e la forma pentagonale delle tavole cuspidate come fecero Cimabue e Duccio, ma la sua opera is fundamentally new. Giotto decentralized choose a frame for the Virgin seated on a throne with a canopy of unquestionable Gothic and transforms the throne in "perspective box" solving the problem of three-dimensional rendering more sharply than that attempted to Duccio, using daring sights on the walls side of the throne. The absence of uncertainties in the yield of issues leads us to date the Majesty 'Uffizi after the frescoes in Assisi and in Padua. Among these special characteristic of the art of Giotto, there are vases of roses, lilies governed by two kneeling angels, the Virgin's robe clear which shows the healthy breast, or even the figures of saints, whose bodies through chiaroscuro take A defined volume in space. The Majesty 'reveals new sense of realism championed by Giotto. The two figures of the Virgin and Child with their plasticity reflect a changed conception of human, more alive, pulsating and concrete, typical of the communal society of the time.
Annunciation in the Uffizi. Simone Martini.
Tempera on panel, size
265x 305 cm in collections from 1799
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Simone gives us here a great interpretation of his language polite gothic aristocrat. With a simple gesture can sum up the mood of the Virgin Mary modestly draws back and closes his cloak with your right hand until it becomes almost immaterial essence cut out the background gold, driven by sinuous curves and reverse curves.
The beautiful vase of lilies, symbol of Mary's purity, Simone Martini demonstrates the need to deal with elements of reality closer to the humanistic concerns made by Giotto. The vessel is described with great precision and modeled in chiaroscuro, but rests on a marble floor effect that seems vertical. The Angel has just appeared to Mary. The Scot still has the original mantle movement during landing because the air still movimento.L 'artist can create an elegant and sophisticated arabesque by playing the air with the tissues of the mantle, reviving the scene with great sense of lightness and naturalness. The masterpiece of Simone Martini entered the Uffizi by order of the Grand Duke of Tuscany Ferdinand III of Loreto.L 'Annunciation, dated and signed by Simone Martini and the brother Lippo.L' Annunciation is sublime witness to its cosmopolitan culture of the fourteenth century Sienese art . The artist has reworked the International Gothic influences, largely French, personal way by creating a deep harmony between the two polarities, Gothic and humanistic.
The beautiful vase of lilies, symbol of Mary's purity, Simone Martini demonstrates the need to deal with elements of reality closer to the humanistic concerns made by Giotto. The vessel is described with great precision and modeled in chiaroscuro, but rests on a marble floor effect that seems vertical. The Angel has just appeared to Mary. The Scot still has the original mantle movement during landing because the air still movimento.L 'artist can create an elegant and sophisticated arabesque by playing the air with the tissues of the mantle, reviving the scene with great sense of lightness and naturalness. The masterpiece of Simone Martini entered the Uffizi by order of the Grand Duke of Tuscany Ferdinand III of Loreto.L 'Annunciation, dated and signed by Simone Martini and the brother Lippo.L' Annunciation is sublime witness to its cosmopolitan culture of the fourteenth century Sienese art . The artist has reworked the International Gothic influences, largely French, personal way by creating a deep harmony between the two polarities, Gothic and humanistic.
oil on panel size 104X 217
In the collections from 1867
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La Vergine raffigurata nelle sembianze di una giovane dai lineamenti dolcissimi , alza la mano destra in segno di accettazione, consapevole delle parole che l'angelo sta per pronunciare E' la poetica leonardesca che fa rivelare ai personaggi, chiaramente i loro pensieri e i moti dell'animo.
Le ali dell'angelo, non sono stilizzate e simboliche , ma vere reali come quelle indagate da Leonardo durante i suoi numerosi, appassionati studi e osservazioni sugli uccelli, qui sono ancora aperte per indicare che l'angelo è appena venuto.
Il sarcofago introdotto come sostegno del leggio è un omaggio ai modelli di Desiderio da Settignano. Questo splendido capolavoro giovanile di Leonardo proviene dal convento di San Bartolomeo di Monteoliveto, nei Leonardo near Florence imagines the Annunciation event bathed in indefinable, between sunrise and sunset, the light that softens the edges with blurred effect and become characteristic of Leonardo's painting. The scene in front of a Tuscan villa of the fifteenth century, the Virgin, dressed in fine clothes as a refined lady, sitting in front of the lectern at the entrance of the building. Nature surrounds the beautiful landscape in the morning fog off in the distance beautiful shades of blue gray, shimmering the Rocky Mountains. In the foreground, many varieties of flowers studied by real stand out like a herbarium undergo scientific analysis.
Le ali dell'angelo, non sono stilizzate e simboliche , ma vere reali come quelle indagate da Leonardo durante i suoi numerosi, appassionati studi e osservazioni sugli uccelli, qui sono ancora aperte per indicare che l'angelo è appena venuto.
Il sarcofago introdotto come sostegno del leggio è un omaggio ai modelli di Desiderio da Settignano. Questo splendido capolavoro giovanile di Leonardo proviene dal convento di San Bartolomeo di Monteoliveto, nei Leonardo near Florence imagines the Annunciation event bathed in indefinable, between sunrise and sunset, the light that softens the edges with blurred effect and become characteristic of Leonardo's painting. The scene in front of a Tuscan villa of the fifteenth century, the Virgin, dressed in fine clothes as a refined lady, sitting in front of the lectern at the entrance of the building. Nature surrounds the beautiful landscape in the morning fog off in the distance beautiful shades of blue gray, shimmering the Rocky Mountains. In the foreground, many varieties of flowers studied by real stand out like a herbarium undergo scientific analysis.
The Calumny Sandro Botticelli c. 1495
tempera on wood
Size 62x 91cm in collections from 1773,
from the Pitti Palace.
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On the right is a black cloak, the personification of Penance turns to the naked truth that chaste, pointing upward, appeals to justice divina.L ', commissioned by the artist Antonio Segni, is rich in content allegorical and historical and cultural references. Was accomplished in that period with a major crisis of values \u200b\u200bin which it emerged, and a call to censorship, the voice of the Dominican monk Girolamo Savanarola. This work by Botticelli is emblematic of the contemporary cultural climate.
Michelangelo Doni Tondo about 1506
Technical resin and tempera on board ..
diameter 120 cm. In the collections since 1635.
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The work is the only painting of the teacher remained in Florence. Executed after the round the Pitti, the National Museum of the Bargello in Florence, painted for the Florentine merchant Agnolo Doni and Maddalena Strozzi his wife, perhaps for the birth of his daughter Maria, which took place on September 8, 1507, remained in their home until 1591 is Unknown the meaning of the work, but the references to Jesus' birth and baptism seem to confirm the hypothesis of a gift for the birth of. The frame, designed by the artist himself thought, was probably carved by Mark Francis of the rate while The five heads are attributed to Baccio di Montelupo. The figures of the Holy Family, shall be resolved in a settlement with serpentine twisting motion. The bare behind St. Joseph is inspired by Hellenistic sculpture of Laocoon disotterrata in Rome in 1506.
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Immagini da Google,
notizie dal libro
Uffizi Firenze. Mondadori 
stella ha detto...
Rosy, silenzio e commozione mi pervadono...
29 aprile 2009 20.21
Marianna ha detto...
ho i brividi per tal bellezza
29 aprile 2009 20.44
Anna said ...
Bravissima rosy. Have you passed:) Now everything is ready;) Bacioniannarita:)
April 29, 2009 20:52
Janas said ...
You made me relive the excitement I felt great the first time I entered the Uffizi. Do not forget mai.Quando I found myself in front of three Majesty ... Mamma mia, that face that I did and only if there is I think the expression on cod! A kiss you! hello
April 29, 2009 21:20
Arianna said ...
I was at the Uffizi about twenty years ago ... I remember everything you've posted! By the way, at the side of the blog is a work of Batoni, of which there is an exhibition until May 3, in Lucca, and of course I went there ... hello, Arianna!
April 29, 2009 21:47
Blue Angel said ...
It 's always a pleasure go from here: how many wonderful things to enjoy!
April 29, 2009 21:57
Girls sorry but I do not know what happened, my comments were blocked. I had to do a new post, now it's all right. I saved your comments on the post.
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