佛罗伦萨乌菲茲美術館（意大利语：Galleria degli Uffizi)

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2012年去了佛罗伦萨。 乌菲茲美術館和圣马可禁止摄影。现在可以拍照。
桑德羅·波提切利的《三博士來朝》，約繪於1475年。

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费德里科·达·蒙特费尔特罗与巴缇丝塔·斯福尔扎双联画是意大利艺术家皮耶罗·德拉·弗朗切斯卡的两幅油画，绘于1473-1475年，现藏于佛罗伦萨的乌菲齐美术馆。画作描绘乌尔比诺公爵费德里科·达·蒙特费尔特罗和夫人巴缇丝塔·斯福尔扎。然而称之为“乌尔比诺公爵夫妇”则是错误的。因为巴缇丝塔·斯福尔扎在1472年去世，而费德里科·达·蒙特费尔特罗到1474年才成为公爵，因此巴缇丝塔从未拥有公爵夫人的头衔 （zh.wikipedia.org/费德里科·达·蒙特费尔特罗与巴缇丝塔·斯福尔扎双联画)。

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弗朗切斯科·波提契尼（Francesco Botticini）是 安德烈亞·德爾·維羅基奧（Andrea del Verrocchio) 的學徒。

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《聖羅馬諾之戰》（義大利語：Battaglia di San Romano）是佛羅倫薩畫家保羅·烏切洛繪製的三幅蛋彩畫，描繪1432年佛羅倫薩人和錫耶納人之間發生的聖羅馬諾之戰。其對揭示早期意大利文藝復興繪畫線條透視的發展有重要作用。三幅畫都是蛋彩畫，且長度均超過三米。根據國家美術館的證據顯示，這些畫作是由佛儸倫薩的一個家族在1435年至1460年間委託烏切洛製作的。後來洛倫佐·德·美第奇買下了其中一幅，並將其他兩幅搬到了美第奇宅府中。現分藏於倫敦國家美術館，佛羅倫薩烏菲茲美術館和巴黎盧浮宮。
烏菲茲美術館的藏品可能是這幅三聯畫中間的那一幅，《契阿爾達被殺下馬》（约1435–1455），木板上的蛋彩畫。（zh.wikipedia.org/聖羅馬諾之戰 (烏切洛)

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Gentile da Fabriano（约1370 – 1427）的《斯特罗齐祭坛画》中的《东方三贤士来朝》（1423
年）代表国际哥特式画风的结束，将被早期佛罗伦萨文艺复兴画风所替换。

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乔托·迪·邦多內（Giotto di Bondone，约1267年—1337年1月8日），意大利畫家與建築師，被認為是意大利文藝復興時期的開創者。所作《圣母登極》企圖表達一些深度空間的透視感。(zh.wikipedia.org/喬托·迪·邦多內)

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契马布埃（Giovanni Cimabue 1240年—1302年）又譯齊瑪布，意大利佛罗伦萨最早的画家之一。
他原为镶嵌画匠，相传为乔托的老师。所作《圣母和天使》、等，具有拜占庭绘画末期风格，又带有一些情味，对意大利文艺复兴时期的艺术，具有前奏的意义。(zh.wikipedia.org/契马布埃)

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旅程的第一段，是设计于十六世纪末期，用于展示美第奇家族珍宝收藏的讲道坛（Tribuna）。即便主要的画作已被搬移至其他的房间，这里在数个世纪以来，一直是奇珍异宝的“宝库”。其中的公元前一世纪古罗马大理石摔跤手雕塑是复制了公元前三世纪古希腊青铜雕塑品, 它可能是名雕塑家利西波斯的失落作品。

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敬请观看《Le Gallerie degli Uffizi》 在  https://youtu.be/DEF3t7fxKgc

烏菲茲美術館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。

这是我的新系列《欧洲十大博物馆》的第一集。

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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.


今年，意大利将以展览和邮票纪念拉斐尔逝世500周年。

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乌菲茲美術館主要藏品之一是 拉斐尔·聖齊奧的《自畫像 （英语：Self-portrait ）》，47.5 × 33 cm，約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)

拉斐尔·聖齊奧（義大利語：Raffaello Sanzio，1483年4月6日－1520年4月6日），本名拉斐尔·桑蒂（Raffaello Santi），常简称拉斐尔（拉丁語：Raphael），意大利画家、建築師。與李奧納多·達文西和米開朗基羅合稱「文藝復興藝術三杰」。拉斐爾所繪畫的畫以「秀美」著稱，畫作中的人物清秀，场景優美。

他的著名宗教畫聖母系列將宗教的虔誠和非宗教的美貌有機地融為一體；他的畫即使是《聖喬治大戰惡龍》的场面看起來也是平靜安詳的。他為梵蒂岡教宗居室創作的大型壁畫《雅典學院》是經典之作，他將柏拉圖和亞里斯多德，將基督教和異教，統統融合在一起，創造出和諧的场面。同时也創作出許多著名的肖像如：「教皇利奥十世像」。他的性情平和、文雅，和他的畫作一样。拉斐尔於1520年高燒猝逝於羅馬，終年37歲，葬於萬神廟。(zh.wikipedia.org/拉斐尔)

今年，意大利将以展览和邮票纪念拉斐尔逝世500周年。

ngsunyu

乌菲茲美術館主要藏品之一是 米開朗基羅的《多尼圓圖（英语：Doni Tondo）》，直徑尺寸120 cm，約繪於1506年。(zh.wikipedia.org/烏菲茲美術館)

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)

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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)

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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)

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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。

彼得羅·佩魯吉諾（Pietro Perugino；1446年至1452年間 – 1523年），是一位意大利文藝復興時期的畫家，活躍于文藝復興全盛期。其最著名的學生是拉斐爾。(zh.wikipedia.org/彼得羅·佩魯吉諾)

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)