烏菲茲美術館（義大利語：Galleria degli Uffizi）是在意大利佛羅倫斯最有歷史及最有名的一座藝術博物館。烏菲茲美術館的興建始於1560年。這裡一開始是喬爾喬·瓦薩里受第一代托斯卡納大公，科西莫一世·德·美第奇之託所建的市政司法機構辦公室（Uffizi為意大利語“辦公室”之意）。整個龐大的宮殿式建築直到1581年才完工。
美第奇家族在1737年絕嗣，公國繼承權原本要交給西班牙波旁王朝的卡洛斯三世，但後來又轉交給洛林家族的法蘭茲一世，兩者皆與美第奇家族有血緣關係。末代大公吉安·加斯托內·德·美第奇的姐姐普法爾茨選帝侯夫人安娜·瑪麗亞·路易薩·德·美第奇在與洛林家族簽訂藝術品遺產移交協定時確立了一些硬性條款，她規定這些藝術品必須留在佛羅倫斯不可攜出，且必須為公眾服務，如此具有前瞻性的條款可謂前所未有，她試圖傳達藝術遺產是一筆國家財富而非屬統治者的財產，也因為如此烏菲茲美術館的收藏在歷經數個世紀能保存得如此完整。(zh.wikipedia.org/烏菲茲美術館)
Grand duke Leopold I who gave the Uffizi its status as a museum in the 18th century. He had its collections reorganized, appointed its first director (1769), and opened it to the public.
The Wrestlers (also known as The Two Wrestlers, The Uffizi Wrestlers or The Pancrastinae) is a Roman marble sculpture after a lost Greek original of the third century BCE. It is now in the Uffizi collection in Florence, Italy. (en.wikipedia.org/Wrestlers (sculpture) 作者: ngsunyu 时间: 2019-9-23 00:27 本帖最后由 ngsunyu 于 2019-9-23 00:28 编辑
乌菲茲美術館主要藏品之一是 契馬布埃的《聖三一的聖像》《Maestà di Santa Trinità》， 385 × 223 cm，約作於1280~1285年。(zh.wikipedia.org/烏菲茲美術館)
Madonna Enthroned, also known as the Ognissanti Madonna, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery of Florence, Italy.
The painting has a traditional Christian subject, representing the Virgin Maryand the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of the Renaissance due to its newfound naturalism and escape from the constraints of Gothic art.
One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city. It was originally painted for the Ognissantichurch in Florence. Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it. Specifically, Giotto's Madonna Enthroned was designed for the high altar.
Giotto was the first artist to depict three-dimensional figures in western European art. Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting. Within Cimabue's Virgin and Child Enthroned, there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric. Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.
Giotto used a value scale, a distinct range of light and darks, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. (en.wikipedia.org/Ognissanti Madonna)作者: ngsunyu 时间: 2019-9-24 00:05 本帖最后由 ngsunyu 于 2019-9-24 00:08 编辑
乌菲茲美術館主要藏品之一是 詹蒂萊·達·法布里亞諾（英语：Gentile da Fabriano）的《三博士來朝（英语：Adoration of the Magi (Gentile da Fabriano)）》，300 × 282 cm，約繪於1423年。(zh.wikipedia.org/烏菲茲美術館)作者: ngsunyu 时间: 2019-9-26 00:42 本帖最后由 ngsunyu 于 2019-9-30 05:04 编辑
《圣罗马诺之战》（意大利语：Battaglia di San Romano）是佛罗伦萨画家保罗·乌切洛绘制的三幅蛋彩画，描绘1432年佛罗伦萨人和锡耶纳人之间发生的圣罗马诺之战。其对揭示早期意大利文艺复兴绘画线条透视的发展有重要作用，委托者并不是教会人士，这在当时也是很不寻常的。三幅画都是蛋彩画，且长度均超过三米。根据国家美术馆的证据显示，这些画作是由佛罗伦萨的一个家族在1435年至1460年间委托乌切洛制作的。 后来洛伦佐·德·美第奇买下了其中一幅，并将其他两幅搬到了美第奇宅府中。现分藏于伦敦国家美术馆，佛罗伦萨乌菲兹美术馆和巴黎卢浮宫。
保罗·乌切洛（Paolo Uccello，1397年－1475年12月10日），原名保罗·迪·多诺（Paolo di Dono），意大利画家。由於烏切洛生活于中世紀末期和文藝復興初期，因此他的作品相應地也呈現出跨時代的特征：他將晚期哥特式和透視法這兩種不同的藝術潮流融合在了一起。他最著名作品是描繪聖羅馬諾之戰的三聯畫。(zh.wikipedia.org/保罗·乌切洛)
Melozzo da Forlì was an innovative Renaissance painter of Italy, showing the first use of foreshortening. He was a leading fresco painter of the 15th Century and important to the Forlì Painting School, of the city of Forlì in Emilia-Romagna. Born to the wealthy Ambrosi family from Forlì, it is assumed that he trained in the Forlì Painting School, which at that time was run by Ansuino da Forlì, who had trained with Francesco Squarcione (1397 – 1468), a teacher of Andrea Mantegna (1431 – 1506). Mantegna’s unique use of perspective and skillful hand was influential on the Forlì Painters, and Ansuino had collaborated with him. It is not known for sure with whom and for how long Melozzo da Forlì trained as a painter, but his work does show Mantegna’s influence.
His first works are noted after 1460 in Rome, where he painted frescos in the Bessarione Chapel in the Basilica dei Santi Apostoli in collaboration with Antoniazzo Romano (1430 – 1510). Then in Urbino after 1465 he met and was influenced by Piero della Francesca (1412 – 1492), whose geometric style impacted Forlì’s use of perspective. His work now in the Uffizi Gallery, The Annunciation, was painted during this period, sometime between 1466 and 1470.
(www.virtualuffizi.com/melozzo-de ... led-melozzo-da-forlì.html)作者: ngsunyu 时间: 2019-9-27 00:05 本帖最后由 ngsunyu 于 2019-9-27 00:06 编辑
Melozzo da Forlì was an innovative Renaissance painter of Italy, showing the first use of foreshortening. He was a leading fresco painter of the 15th Century and important to the Forlì Painting School, of the city of Forlì in Emilia-Romagna. Born to the wealthy Ambrosi family from Forlì, it is assumed that he trained in the Forlì Painting School, which at that time was run by Ansuino da Forlì, who had trained with Francesco Squarcione (1397 – 1468), a teacher of Andrea Mantegna (1431 – 1506). Mantegna’s unique use of perspective and skillful hand was influential on the Forlì Painters, and Ansuino had collaborated with him. It is not known for sure with whom and for how long Melozzo da Forlì trained as a painter, but his work does show Mantegna’s influence.
His first works are noted after 1460 in Rome, where he painted frescos in the Bessarione Chapel in the Basilica dei Santi Apostoli in collaboration with Antoniazzo Romano (1430 – 1510). Then in Urbino after 1465 he met and was influenced by Piero della Francesca (1412 – 1492), whose geometric style impacted Forlì’s use of perspective. His work now in the Uffizi Gallery, The Annunciation, was painted during this period, sometime between 1466 and 1470.
(www.virtualuffizi.com/melozzo-de ... led-melozzo-da-forlì.html)作者: ngsunyu 时间: 2019-9-28 00:53 本帖最后由 ngsunyu 于 2019-9-29 11:41 编辑
乌菲茲美術館藏品之一是 Francesco Botticini 的《多俾亞和三大天使長（義大利語：I tre arcangeli e Tobiolo 》，135 × 154 cm，約繪於1470-1475年。
This tempera (蛋彩畫) on wood was part of the Cappani altar in Santo Spirito 佛罗伦萨圣神大殿（義大利語：Basilica di Santa Maria del Santo Spirito).
Tobias and the three Angels depicts a biblical scene from the Book of Tobit (多俾亞傳), 5.5-6 in which Tobias(多俾亞), son of Tobit(托彼特), walks with three archangels without realising who they are. Archangel Michael with a sword and cuirass is on the left, Raphael is leading young Tobias by the hand, and Gabriel bearing the lily of the annunciation to Mary.
多俾亞傳（英文：Book of Tobias ）或譯為多比傳（Book of Tobit），屬於天主教和東正教《舊約聖經》的一部份，但不包括在新教的《舊約聖經》裡。
Francesco di Giovanni Botticini (1446 – 16 January 1498), commonly referred to as Francesco Botticini, was an Italian Early Renaissance painter. He was born in Florence and remained active as a painter until his death in 1498. He studied in the workshops of Neri di Becci, Cosimo Rosselli and Andrea del Verrocchio. He established his own Florentine workshop after a brief period as Neri di Bicci's assistant. Although there are few works attributed to Botticini directly, in recent years historians have unearthed of a considerable number of works that were certainly authored by Botticini. Since the assembly of the complete record of his works, he is viewed as a remarkable minor master of Renaissance Art. (en.wikipedia.org/FrancescoBotticini).
乌菲茲美術館主要藏品之一是 皮耶羅·德拉·弗朗切斯卡的《烏爾比諾公爵費德里科·達·蒙特費爾特羅夫婦雙聯畫（義大利語：Doppio ritratto dei duchi di Urbino）》，47 × 66 cm，約繪於1472年。
皮耶罗·德拉·弗朗切斯卡（Piero della Francesca，約1415年－1492年10月12日），意大利文艺复兴早期画家兼理論家。弗朗切斯卡是皮鞋制造商的儿子，早年收到优良教育，1439年与人合作为佛罗伦萨新圣母医院创作力湿壁画组画。1445年受托创作《慈悲之圣母》组画，1452年又为阿雷佐圣方济各教堂创作了湿壁画《十字架传奇》。弗朗切斯卡的大部分时间待在佛罗伦萨和桑塞波尔克罗，有时也在里米尼、阿雷佐、费拉拉和罗马工作。
雨果·凡·德·古斯（Hugo van der Goes，約1430/1440 – 1482年）是一位生活於15世紀的佛蘭德畫家，是重要的早期尼德蘭畫家之一。他的很多作品都留存了下來，其最著名的作品是現藏於烏菲茲美術館的波提納里祭坛画。(zh.wikipedia.org/wiki/雨果·凡·德·古斯)
The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil on wood triptych painting by the Flemish painter Hugo van der Goes representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy.
The work was commissioned for the church of the hospital of Santa Maria Nuova in Florence by the Italian banker Tommaso Portinari, a descendant of the hospital's founder. Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank.
In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.
In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel (to the right), the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem.
When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds (1485) which Domenico Ghirlandaio painted in the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds (Metropolitan Museum, New York), which dates from around 1450.(en.wikipedia.org/wiki/Portinari_Altarpiece)作者: ngsunyu 时间: 2019-10-2 00:59 本帖最后由 ngsunyu 于 2019-10-2 01:09 编辑
这幅壁画最初位于佛罗伦萨圣马蒂诺·阿拉·斯卡拉医院 (ospedale di San Martino alla Scala a Firenze) 的凉廊之一。
La scena è ambientata nell'abitazione di Maria: l'Angelo sta per atterrare nella loggia aperta verso il giardino e il paesaggio, mentre Maria sta inginocchiata nell'anticamera della stanza da letto: ella sospende la lettura delle Sacre Scritture e si piega con un gesto di umile accettazione.
Nel dipinto spicca la vigorosa apparizione dell'Angelo, che plana con abiti gonfi e il giglio, sua offerta alla purezza di Maria, piegato dal vento dell'atterraggio. il gesto di Maria, così religiosamente remissivo, sembra anticipare alcune figure dell'attività più tarda, senata dal misticismo savonaroliano. Nel sicuro impianto prospettico e compositivo si ravvedono vari elementi tipici del tema dell'annunciazione: l'hortus conclusus (giardino recintato), simbolo di verginità, la camera da letto, simbolo di immacolata concezione, il libro, simbolo delle profezie che si avverano con l'accettazione della Vergine. Notevole è la cura dei dettagli, come la viva decorazione a girali nei pilastri, o la resa materica dei veli setosi nella tenda e nelle lenzuola, oltre che nelle vesti. (it.wikipedia.org/wiki/Annunciazione_di_San_Martino_alla_Scala)作者: ngsunyu 时间: 2019-10-3 00:07
乌菲茲美術館主要藏品之一是 达-芬奇 的《三博士來朝》，243 × 246 cm，約繪於1481年。(zh.wikipedia.org/烏菲茲美術館)
Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. (en.wikipedia.org/Primavera (Botticelli)作者: ngsunyu 时间: 2019-10-5 00:03 本帖最后由 ngsunyu 于 2019-10-5 00:07 编辑
The Three Graces, a group of three females also in diaphanous white, join hands in a dance.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Albertiin his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Cupid's arrow is aimed at the middle Grace, Chastity according to Wind, and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting. (en.wikipedia.org/Primavera (Botticelli) 作者: ngsunyu 时间: 2019-10-5 00:08 本帖最后由 ngsunyu 于 2019-10-5 00:11 编辑
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus (女神维纳斯), a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. (en.wikipedia.org/Primavera (Botticelli) 作者: ngsunyu 时间: 2019-10-6 00:13 本帖最后由 ngsunyu 于 2019-10-6 00:15 编辑
In the centre the newly-born goddess Venus stands nude in a giant scallop shell. Its size is purely imaginary, and is also found in classical depictions of the subject. At the left the wind god Zephyr blows at her, with the wind shown by lines radiating from his mouth. He is in the air, and carries a young female, who is also blowing, but less forcefully. Both have wings. Vasari was probably correct in identifying her as "Aura", personification of a lighter breeze. Their joint efforts are blowing Venus towards the shore, and blowing the hair and clothes of the other figures to the right.
At the right a female figure who may be floating slightly above the ground holds out a rich cloak or dress to cover Venus when she reaches the shore, as she is about to do. She is one of the three Horae or Hours, Greek minor goddesses of the seasons and of other divisions of time, and attendants of Venus. The floral decoration of her dress suggests she is the Hora of Spring. (en.wikipedia.org/The Birth of Venus)作者: ngsunyu 时间: 2019-12-25 07:33 本帖最后由 ngsunyu 于 2019-12-25 07:35 编辑
乌菲茲美術館藏品之一是 彼得羅·佩魯吉諾 的《 Francesco delle Opere肖像 （意大利语：Ritratto di Francesco delle Opere 》，52 × 44 cm，約繪於1494年。
In the 19th century this painting was attributed to Perugino and Jacopo Francia, and then again to Perugino by Antonio Ramirez de Montalvo, who discovered an inscription in the rear. This reads: "1494 DI LVGLIO PIETRO PERVGINO PINSE FRANC[ESC]O DEL LOPRE PEYNAGA". It was long considered a self-portrait, and from 1883 it was therefore exhibited in the gallery of self-portraits in the Vasarian Corridor. In 1881 the subject was finally identified as Francesco delle Opere (died 1516), a gem carver and a friend of Perugino. (en.wikipedia.org/wiki/Portrait_of_Francesco_delle_Opere)作者: ngsunyu 时间: 2019-12-25 14:49 本帖最后由 ngsunyu 于 2019-12-25 14:52 编辑
乌菲茲美術館藏品之一是 拉斐爾·聖齊奧 的《彼得羅·佩魯吉諾肖像 （意大利语：Ritratto del Perugino 》，57 × 42 cm，約繪於1504年。
The Portrait of Perugino is a portrait of the Italian Renaissance artist Perugino attributed to his pupil Raphael or to Lorenzo di Credi. It was produced around 1504 and is now in the Uffizi gallery, Florence.
The painting is known to have been in the Florentine Galleries since as early as 1704, when it was identified as a portrait of Martin Luther and was attributed to Hans Holbein the Younger. In an 1825 comment to Giorgio Vasari's Vite, it was listed as a Portrait of Verrocchio by Lorenzo di Credi. Adolfo Venturi in 1922 attributed it to Perugino himself, while the attribution to Raphael appeared in the 1930s.
The identification with Perugino is today ascertained thanks to the evident similarities with the self-portrait in the Collegio del Cambio. Copies of the painting exist in Vienna, London, Bergamo, Rome and in the Gallerie dell'Accademia in Venice. (en.wikipedia.org/Portrait of Perugino (Raphael)作者: ngsunyu 时间: 2019-12-25 14:53 本帖最后由 ngsunyu 于 2019-12-26 00:53 编辑
乌菲茲美術館主要藏品之一是 阿爾布雷希特·杜勒的《三博士來朝（英语：Adoration of the Magi (Dürer)）》，100 × 114 cm，約繪於1504年。(zh.wikipedia.org/烏菲茲美術館)
The Adoration of the Magi is a panel painting by Albrecht Dürer (1471-1528), produced under commission by Frederick the Wise for the altar of the Schlosskirche in Wittenberg. It is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and 1505). The work is modest in size, just over a metre wide, however it is of great importance in Dürer's oeuvre and in the history of art. Before the production of this work, Dürer's achievements lay largely in his printmaking career, or with his self-portraiture. This work is especially crucial in its distinction of Dürer's difference as he combines a fine balance of northern and Italianate conventions in the work. Heinrich Wölfflin referred to the work as “the first completely lucid painting in the history of German art”.
In 1603 Christian II of Saxony presented the painting as a gift to the Holy Roman Emperor Rudolf II. It remained in the imperial collection in Vienna until 1792, when Luigi Lanzi, the director of the Uffizi, acquired it in exchange for Fra Bartolomeo's Presentation in the Temple.
In the European image of the Adoration of the Magi, it is a common convention to represent the third king as a black figure. In Dürer’s composition, this figure dominates the right portion of the painting, counterbalancing the cluster of the other four figures on the left (organised in a pyramid structure) due to his difference. This is a key feature in the painting, as the viewer’s ocular curiosity is drawn to the third king, which leads the eye around the image through his gaze. His difference is articulated in spatial terms as he appears on the outside, surrounded by nature rather than the architectural features that sit behind the other figures.
In Dürer’s imagining of the piece, he also features himself as the second king. Dürer is well known for his self-portraits, and so his physiognomy is recognisable, matched with his beard and long golden hair. This is a crucial difference in Albrecht Dürer’s construction of the work. His self-characterization is further substantiated by the alignment of the second king and the artists' famous monogram, which appears on a block in the foreground. Even so, there is nothing unusual in forming one of the Magi from a portrait of a real individual. This is a tradition that feigns a sense of diplomacy and dynastic ceremony and occurred in images of the Adoration before the convention of the inclusion of a black figure. This highlights Dürer's construction of the composition using both traditional and imagined stylistic details.
Similarly found in later Antwerp Adorations, Dürer constructs the composition with a fusion of stylistic inclusivity combining northern naturalism with Italianate use of perspective, ideal proportions and colour. Pure reds, green, and blue can be found in composition, as well as bright golden features illuminating the wealth and exoticism of the objects within the pictorial space. This places an emphasis on the exotic elements that allude to the Wunderkammer that have inspired the work. Images of the Adoration often functioned as reminders of the mythic insignia of the collecting enterprise itself and stood on top of the household treasury cupboard or tresoor. A notable example of such detail in the composition include the foreign servant of the black Magus, who appears wearing a turban à la Turque. This exoticism is also reflected in the detailed garb of the kings, and the jewels and ornaments that surround them. (en.wikipedia.org/Adoration of the Magi (Dürer)
The Doni Tondo or Doni Madonna, is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, the Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian, 'round', a shape which is frequently associated during the Renaissance with domestic ideas.
The work was most likely created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.
The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.
The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci’s The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David. (en.wikipedia.org/Doni Tondo) 作者: ngsunyu 时间: 2020-1-1 00:18 本帖最后由 ngsunyu 于 2020-1-1 00:32 编辑
乌菲茲美術館主要藏品之一是 拉斐爾·聖齊奧的《金翅雀聖母（英语：Madonna del cardellino）》，107 × 77 cm，約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)
In this painting, as in most of the Madonnas of his Florentine period, Raphael arranged the three figures - Mary, Christ and the young John the Baptist - to fit into a geometrical design. Though the positions of the three bodies are natural, together they form an almost regular triangle. The Madonna is shown young and beautiful, as with Raphael's various other Madonnas. She is also clothed in red and blue, also typical, for red signifies the passion of Christ and blue was used to signify the church. Christ and John are still very young, only babies. John holds a goldfinch in his hand, and Christ is reaching out to touch it. The background is one typical of Raphael. The natural setting is diverse and yet all calmly frames the central subject taking place.
The Madonna was a wedding gift from Raphael to his friend Lorenzo Nasi. On November 17, 1548 Nasi's house was destroyed by an earthquake and the painting broke into seventeen pieces. It was immediately taken to be salvaged, and was hastily put back together, though the seams were quite visible. In 2002, George Bonsanti of the Precious Stones organization gave the task of restoration to Patrizia Riitano. During the six-year process that followed, her team worked to remove the years of grime that had degraded the painting's color, and to fix the damage done by the earthquake long ago. Before beginning the project, they studied the work as closely as possible, utilizing resources such as X-rays, CAT scans, reflective infra-red photography, and even lasers. Riitano closely studied the past quick fix layers that had been applied and removed them until the original by Raphael finally shone through. The restoration was completed in 2008, and the painting was put on display in Uffizi.
In Madonna Del Cardellino, the goldfinch represents Christ's crucifixion. The reason for its association comes from the legend that its red spot was born at the time of the crucifixion. It flew down over the head of Christ and was taking a thorn from His crown, when it was splashed with the drop of His blood. The book in Mary's hand reads Sedes Sapientiae or The Throne of Wisdom. This term usually is applied to images in which Mary is seated upon a throne, with Jesus on her lap, but in this case, the inscription implies the rock on which Mary sits is her natural throne.