This magnificent gathering of more than 800 exemplary paintings from one of the world's greatest collections of European art has been lovingly reproduced in lavish full color. Over 800 color plates. Boxed.
Florence’s Uffizi Gallery, on which construction began in 1560, houses such masterpieces as Botticelli's The Birth of Venus, as well as works by Bronzino, Caravaggio, Titian, and Rubens. Connected to the Pitti Palace by a corridor designed by Vasari that crosses the Arno River, the Uffizi Gallery is a one-of-a-kind museum. This gorgeous oversize book showcases the extraordinary collection, and Alexandra Bonfante-Warren provides fascinating context by relating the story of the museum’s construction and complex history.
Italy's most famous museum, the Uffizi in Florence, houses a spectacular collection of Renaissance art as well as works by later masters. In this grand tour of one of history's preeminent public art collections, the greatest works by early Renaissance artists such as Botticelli, Leonardo, Michelangelo, and Raphael are presented, along with work by later Italians and other artists from throughout Europe. 216 full-color illustrations.
From the Palazzo Vecchio to the Forte Belvedere, through the Uffizi, the Vasari Corridor, the Pitti Palace, and the Boboli Gardens, Florence is honeycombed with a series of public art collections that is unparalleled in Europe for its size and for the variety and value of its holdings. Taken all together, the museums of Florence are one of the wonders of the world, for the spiritual values that they embody as much as for the works they contain. The painting collections in the state museums of Florence are unequalled for their quality, historical significance, and for the sheer number of works; never before have they been presented in a publication of such splendid technical quality. Thus the reader can trace the various phases and great moments of Florentine painting, including lesser known works of the seventeenth century; can appreciate the presence of masterpieces from other, perhaps unknown, schools; and can examine details different from the standard ones consecrated by tradition. Text in English and Italian.
Arguably the quintessential work of the High Renaissance in Venice, Titian's Venus of Urbino also represents one of the major themes of western art: the female nude. But how did Titian intend this work to be received? Is she Venus, as the popular title - a modern invention - implies; or is she merely a courtesan? This book tackles this and other questions in six essays by European and American art historians. Examining the work within the context of Renaissance art theory, as well as the psychology and society of sixteenth-century Italy, and even in relation to Manet's nineteenth-century 'translation' of the work, their observations begin and end with the painting itself, and with appreciation of Titian's great achievement in creating this archetypal image of feminine beauty.
This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter's innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author's discussion of the material context of women's artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success. Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani's momentous role in the professionalization of Italian women's cultural production and artistic practice at the beginning of the modern era and highlights Sirani's role as an example for successive generations of professional women artists.
La Galleria degli Uffizi è uno dei musei più importanti del mondo. Il nucleo principale delle sue ricchissime collezioni comprende opere che vanno dal Duecento al Settecento; in particolare è lo specchio fedele di uno dei momenti più alti dell'arte di tutti i tempi: il Rinascimento. Tra i principali artisti rappresentati ci sono Giotto, Piero della Francesca, Paolo Uccello, Botticelli, Leonardo, Michelangelo, Raffaello, Pontormo, Tiziano, Caravaggio. Le sezioni del volume: Le origini; Genealogia della famiglia Medici; Le Collezioni Medicee; Il Duecento e il Trecento; Il Quattrocento; Il Rinascimento nel Nord Europa; Il Cinquecento; Il Seicento e il Settecento; Biografie; Artisti e opere. Catalogo completo; Indice dei nomi citati.