The Uffizi & Pitti and The National Gallery
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Coming in a movie this fall, Tom Hanks, playing the part of Robert Langdon in Inferno, will be racing through this elevated system in search of clues. I can hardly wait for the show. In the meantime, I got a preview tour myself. This elevated passageway which links the Palazzo Vecchio with the Palazzo Pitti was built in 1564. It is now filled with a priceless art collection.
When I'm not waiting for the movie, you can find me on Twitter.
Portrait of Tommaso Inghirami is an oil painting by Italian artist Raphael. Painted ca. 1509, it exists in two copies, one of which is in display in the Palatina Gallery of Palazzo Pitti in Florence and the other in the Isabella Stewart Gardner Museum in Boston. Known for its realism and attention to detail, the image is reminiscent of works by Hans Holbein the Elder, by whom Raphael may have been influenced in its execution. Stylistically, it relates to Raphael's Portrait of Agnolo Doni, ca.1506, in what Claudio Strinati described in 1998 as its "merciless clarity."
The subject of the painting, Tommaso Inghirami, was a friend of Raphael's, a prelate nicknamed Phaedra following a skillful exhibition of Latin poetry improvisation during a performance of Seneca's Phaedra wherein he carried the title role. A popular orator and actor, Tommaso Inghirami had strabismus. According to 2005's Cambridge Companion to Raphael, the piece is "the first likeness into which Raphael introduced the concept of movement", in the twist of his body as he contemplates his composition. By means of this device, Raphael focused attention away from his subject's disfigurement
...pon una guitarra en sus manos y disfruta......
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Modelo: Danae Barla
Fotos: Raúl Ramírez
Pelo: Rodrigo Cuevas
Maquillaje: Olga Lillo
Producción: Pitti Palacios
Agradecimientos: Daniela Diaz, Isabel Mora, Lila Nash.
Lugar: Valparaíso, Chile
'bath' more accurately, Pitti Palace, Florence. Built for his visit. I guess he did not deign use other toilets or baths.
Il Ponte Vecchio a Firenze
Dall'alto dei suoi 700 anni d'età, Ponte Vecchio rappresenta un monumento iconico di Firenze, dell'Italia intera e di quel mondo fatto dalle bellezze artistico architettoniche che sono il simbolo del bello che al nostro Paese fortunatamente non manca.
Fu disegnaunto da Taddeo Gaddi, allievo di Giotto e realizzato tra il 1339 e il 1345 con numerosi successivi rimaneggiamenti; era il secondo dei ponti più vecchi di Firenze, essendo quello di Rubaconte più vecchio di oltre cent'anni. La sua struttura a tre arcate fu totalmente innovativa per l'epoca e già possedeva piccole botteghe di macellai i quali potevano disperdere in Arno i pezzi di carne rimanente dal loro commercio.
Nel '400 i proprietari delle botteghe del ponte, allo scopo di aumentarne la superficie, iniziarono ad effettuare ampliamenti delle loro proprietà in aggetto, snaturando lo stile architettonico della struttura; ma la modifica più importante al ponte venne effettuata con la costruzione del Corridoio Vasariano per collegare Palazzo Vecchio con Palazzo Pitti: un corridoio lungo esattamente 760 metri unico al mondo che è stato oggetto di un lungo restauro terminato nel dicembre 2024. Alla fine del secolo XVI orafi ed incisori si sostituirono ai macellai che esercitavano sul ponte e ancora oggi sono i commercianti che caratterizzano le attività su questo manufatto.
E', alla fine, la costruzione che più o meno è giunta fino a noi indenne dagli eventi bellici e naturali: fu risparmiato dai nazisti in fuga nella Seconda Guerra Mondiale e nel 1966 resistette all'alluvione di Firenze che peraltro fece enormi danni ai monumenti e all'immenso patrimonio culturale e artistico della città.
The Ponte Vecchio in Florence
At over 700 years old, the Ponte Vecchio represents an iconic monument for Florence, for Italy as a whole, and for that world of artistic and architectural beauty that symbolizes the beauty that our country fortunately has no shortage of.
It was designed by Taddeo Gaddi, a student of Giotto, and built between 1339 and 1345 with numerous subsequent renovations. It was the second oldest bridge in Florence, with the Rubaconte bridge being over a hundred years older. Its three-arched structure was completely innovative for its time, and it already housed small butchers' shops, who could disperse the leftover cuts of meat from their trade into the Arno River.
In the 15th century, the owners of the bridge's shops, in an effort to increase its surface area, began to extend their overhanging properties, distorting the architectural style of the structure. But the most significant modification to the bridge was made with the construction of the Vasari Corridor, connecting Palazzo Vecchio with Palazzo Pitti: a corridor exactly 760 meters long, unique in the world, which underwent extensive restoration work, completed in December 2024. At the end of the 16th century, goldsmiths and engravers replaced the butchers who operated on the bridge, and even today, merchants still dominate the trades on this structure.
It is, ultimately, the building that has survived more or less unscathed by war and natural disasters: it was spared by the Nazis fleeing during World War II, and in 1966 it withstood the flood that struck Florence, which also caused enormous damage to the monuments and the city's immense cultural and artistic heritage.
© Riccardo Senis, All Rights Reserved
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Il minaccioso branco di lupi plasmato da Liu Ruowang, composto da ben cento fusioni in ferro, ciascuna del peso di 280 kg, sembra voler attaccare un impotente guerriero; è un’allegoria della risposta della natura alle devastazioni e al comportamento predatorio dell’uomo nei confronti dell’ambiente. Ed è, nel contempo, una riflessione sui valori della civilizzazione, sulla grande incertezza in cui viviamo oggi - resa ancor più evidente dai drammatici effetti del covid-19 – e sugli effettivi rischi di un annientamento irreversibile del mondo attuale. Lupi in arrivo rappresenta quindi una vera e propria critica nei confronti di un mondo votato all’autodistruzione e i lupi sono un appello disperato alla salvaguardia ambientale di tutto il pianeta.
The monumental installation occupies two prestigious spaces: Piazza Pitti and Piazza Santissima Annunziata, and wants to create connection and contrast with the idea of harmony typical of 15th century Humanism. The wolves indeed face two emblematic buildings of the Renaissance, Palazzo Pitti and the Spedale degli Innocenti, where the great Filippo Brunelleschi was able to show his conception of space, proportions and architectural rhythm.
The threatening pack of wolves shaped by Liu Ruowang - made up of 100 iron castings, each weighing 280 kg - is an allegory of nature's response to the ravages and predatory behavior of man towards environment. And it is, at the same time, a reflection on the values of civilization, on the great uncertainty in which we live today - made even more evident by the dramatic effects of covid-19 - and on the actual risks of an irreversible annihilation of the current world, apparently devoted to self-destruction.
Panciatichi Assumption is a painting created c. 1522–1523 by the Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.
The painting was commissioned by Bartolomeo Panciatichi (the Elder) for a private altar in the French church of Notre-Dame-de-Confort, in Lyon; however, when finished, it remained in Italy. It was subsequently acquired by Bartolomeo Panciatichi the Younger, the man later portrayed by Agnolo Bronzino. In 1526 Andrea del Sarto used the same composition in the Passerini Assumption, now housed in the same museum. Later, Bartolomeo gifted the work to Jacopo Salviati, who moved it to his villa del Poggio Imperiale. After all Salviati's possessions were confiscated by Duke Cosimo I de' Medici, the villa and all its content went to Paolo Giordano Orsini, husband of the duke's daughter Isabella d'Este.
After several changes of property, including a period under the Odescalchi, the villa returned to the Medici family in 1602. In 1687 it was decided to the move the Assumption to Pitti Palace, as part of the collection of prince Ferdinando de' Medici. The panel was enlarged in that occasion, in order to mount the same frame of the Passerini Assumption, also taken to the palace.
The work depicts the theme of the Assumption of Mary with two registers: the lower one shows the apostles of Jesus crowding around Mary's empty sepulcher, looking at her while she ascends to heaven in a cloud in the upper part, surrounded by happy putti. Andrea del Sarto painted two kneeling apostles in the middle, according to the traditional pyramidal composition of holy Conversations, joining them to a circle of other apostles which can be seen, for example, in Raphael's Oddi Altarpiece.
The presence of a grotto at the right is unusual. Mary is looking upwards, surrounded by a celestial light . At her sides are two symmetrical groups of angels, whose tables perhaps were intended to contain the artist's signature, the donor's name and the execution year; another, in the middle, calls the apostles' attention towards Mary.
Some of the characters were perhaps portraits of existing people. The apostle kneeling and looking towards the seer, for example, is sometimes identified as Andrea del Sarto's self-portrait.
Explored!
12 units
Designer: Francesco Mancini
Folder: Francesco Mancini
Paper: Tant
Unit size: Square
Original model Stella Pitti
Silvestro Lega (Modigliana, Forlì 1826 - Florence 1895) - Bersaglieri leading Austrian prisoners (1861) - Oil on canvas 57 x 95 cm - Florence, Galleria Nazionale d'arte Moderna di Palaz
Nella carriera artistica di Silvestro Lega questo quadro segna idealmente la fine del suo apprendistato accademico. Il pittore con questa opera si sentì finalmente libero di esprimere il suo spirito artistico, di seguire la sua indole, diventando di fatto uno dei principali rappresentanti del movimento dei Macchiaioli.
Silvestro fu allievo, presso l’Accademia di Belle arti di Firenze, di Antonio Ciseri (1821-1891). I suoi esordi furono legati anche all’ideale pittorico di Luigi Mussini (1813-1888), dal quale apprese l’utilizzo di colori limpidi e puri, frutto di un attento studio della pittura dei primitivi. Caratteristica, che troviamo anche in questo dipinto, dove la gamma di colori utilizzati rispecchia proprio questi insegnamenti. La scena ariosa è scandita dall’intercedere dei bersaglieri vittoriosi, seguiti dai malinconici prigionieri austriaci. L’episodio storico, a lui contemporaneo, viene illustrato senza patetismi e retorica. L’utilizzo magistrale della macchia si trova sia nei contrasti cromatici, ottenuti con l’accostamento delle diverse divise, che nella sapiente stesura del colore del terreno roccioso e del cielo cristallino. In questo quadro Lega esemplifica sia l’adesione al movimento che il sentimento risorgimentale. I macchiaioli infatti, non furono uniti solo dalla condivisione di un nuovo stile pittorico, ma furono legati da una passione patriottica che portò molti di loro ad arruolarsi. Lega stesso partecipò, come volontario, alla battaglia di Curtatone e Montanara. Non è quindi un caso che proprio tra il 1859 e il 1861 la produzione di opere sul tema risorgimentale fu notevole e accomunò tutti gli esponenti del movimento macchiaiolo. Lega in particolar modo con questo quadro compì il salto di qualità esprimendo, attraverso l’uso esemplare della macchia, un capolavoro assoluto. Un’evoluzione che non passò inosservata quando il quadro fu esposto alla mostra della Società Promotrice fiorentina. L’opera fu infatti acquistata dal Governo per andare ad implementare la nascente collezione di quadri contemporanei che, dal 1914, sarebbero stati esposti presso la Galleria d’Arte moderna di Palazzo Pitti.
In Silvestro Lega's artistic career, this painting ideally marks the end of his academic apprenticeship. With this work, the painter finally felt free to express his artistic spirit, to follow his nature, becoming one of the main representatives of the Macchiaioli movement.
Silvestro was a student of Antonio Ciseri (1821-1891) at the Academy of Fine Arts in Florence. His beginnings were also linked to the pictorial ideal of Luigi Mussini (1813-1888), from whom he learned the use of clear and pure colors, the result of a careful study of the painting of the primitives. A characteristic that we also find in this painting, where the range of colors used reflects these teachings. The airy scene is marked by the interceding of the victorious Bersaglieri, followed by the melancholy Austrian prisoners. The historical episode, contemporary to him, is illustrated without patheticism and rhetoric. The masterful use of the stain is found both in the chromatic contrasts, obtained with the juxtaposition of the different uniforms, and in the skilful drafting of the color of the rocky terrain and the crystalline sky. In this painting Lega exemplifies both the adhesion to the movement and the sentiment of the Risorgimento. The Macchiaioli, in fact, were not only united by sharing a new style of painting, but were linked by a patriotic passion that led many of them to enlist. Lega himself participated, as a volunteer, in the battle of Curtatone and Montanara. It is not by chance, therefore, that between 1859 and 1861 the production of works on the Risorgimento theme was remarkable and united all the exponents of the Macchiaioli movement. Lega in particular, with this painting, made a qualitative leap expressing, through the exemplary use of the stain, an absolute masterpiece. An evolution that did not go unnoticed when the painting was exhibited at the exhibition of the Florentine Promotrice Society. The work was in fact purchased by the Government to implement the nascent collection of contemporary paintings that, since 1914, would be exhibited at the Gallery of Modern Art in Palazzo Pitti.
The Medici family established the layout of the gardens, creating the Italian garden style that would become a model for many European courts.
He wears;
- Shirt & pants by Ursula R.
- Belt from AtelierNiShasha.
- Bag from Dressmakers Details.
- Glasses from FR.
- Shoes from Ken.
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The Corridor was built in 1564 by Giorgio Vasari. It served to link up the Pitti Palace, where the Grand Duke resided, with the Uffizi (or offices) where he worked.
It is a covered walk, almost a kilometre in length, an overhead passageway that starts out from the West Corridor of the Gallery, heads towards the Arno and then, raised up by huge arches, follows the river as far as the Ponte Vecchio, which it crosses by passing on top of the shops. The meat market on the bridge was at this time trasferred elsewhere, so as not to offend the Grand Duke's sensitive nose with unpleasant smells on his walk, and replaced (from 1593) with the goldsmiths who continue to work there today.
On the other side of the Arno, the corridor passes through the interior of the church of Santa Felicita. Down the tops of the houses and the gardens of the Guicciardini family until it finally reaches the Boboli gardens (one of the exits stands beside Buontalenti's Grotto) and the apartments in the Pitti Palace.
The passageway contains over 1000 paintings, all dating from the 17th and 18th centuries, as well as the important collection of Self-portraits by some of the most famous masters of painting of the 16th to the 20th century like Bernini, Annibale Carracci, Guido Reni, Salvator Rosa, Rubens, Rembrandt, Canova, Hayez, Corot, Ingres, Delacroix, Ensor and many others.
This photo is taken from the Uffizi