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标题: 佛罗伦萨乌菲茲美術館（意大利语：Galleria degli Uffizi) [打印本页]

作者: ngsunyu 时间: 2017-3-11 08:12
标题: 佛罗伦萨乌菲茲美術館（意大利语：Galleria degli Uffizi)
本帖最后由 ngsunyu 于 2019-10-13 11:28 编辑

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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作者: ngsunyu 时间: 2017-3-11 08:13
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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作者: ngsunyu 时间: 2019-9-21 01:26
本帖最后由 ngsunyu 于 2019-9-23 03:38 编辑

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)

利奥波德二世（Leopold II，1747年5月5日－1792年3月1日），哈布斯堡-洛林王朝的神圣罗马帝国倒數第二任皇帝(1790年-1792年在位)，匈牙利和波希米亚國王。他也是奥地利统治下的意大利的托斯卡纳大公(称利奥波多一世)(1765年-1792年)。(zh.wikipedia.org/利奥波德二世 (神圣罗马帝国)

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.

意大利郵政在6月24日发行了一枚烏菲茲美術館郵票, 庆祝向公众开放250年。

邮戳的位置并不理想。最佳的盖戳位置应该是明显地在空白处。很遗憾的是我只有一枚这样的明信片。如果有更多的明信片，我会自制三枚或更多。根据我的经验，三枚中必有一出色者。例见达-芬奇 (Leonardo da Vinci) 逝世（1519年5月2日）500周年纪念第41楼。

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作者: ngsunyu 时间: 2019-9-22 03:12
本帖最后由 ngsunyu 于 2019-9-22 05:07 编辑

乌菲茲美術館主要藏品之一是摔跤手（又称“两个摔跤手”) 是公元一世纪罗马大理石雕塑。

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)

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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)

契马布埃（Giovanni Cimabue , 1240年－1302年）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》、《圣母和圣·佛兰西斯》等，具有拜占庭绘画末期风格，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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作者: ngsunyu 时间: 2019-9-23 02:50
本帖最后由 ngsunyu 于 2019-9-23 03:38 编辑

乌菲茲美術館主要藏品之一是喬托·迪·邦多納的《聖像（英语：Ognissanti Madonna）》， 325 × 204 cm，約作於1310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)

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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)

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作者: ngsunyu 时间: 2019-9-26 00:42
本帖最后由 ngsunyu 于 2019-9-30 05:04 编辑

乌菲茲美術館主要藏品之一是保羅·烏切洛的《圣罗马诺之战》，182 × 220 cm，約繪於1439年。(zh.wikipedia.org/烏菲茲美術館)

《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。

乌菲兹美术馆的藏品《契阿尔达被杀下马》可能是这幅三联画中间的那一幅，且是仅有艺术家签名的一幅。虽然有所异议，但是一般都认为这一系列画的时间顺序应该是按国家美术馆、乌菲兹美术馆到卢浮宫来排列。它们表现的是一天的不同时间，即黎明、正午和黄昏，而这场战役也只持续了八个小时。(zh.wikipedia.org/圣罗马诺之战 (烏切洛)

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)

我的照片文件太大。分为重叠的两半。完整的图片文件来自Wikipedia。

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作者: ngsunyu 时间: 2019-9-27 00:02
本帖最后由 ngsunyu 于 2019-9-27 00:04 编辑

乌菲茲美術館藏品之一是美洛佐·达·弗利的《聖母領報》的天使加百列(左側幅)，116 × 60 cm，約繪於1466-1470年。

美洛佐·达·弗利(约公元1438年至公元1494年11月8日)，是15世纪意大利翁布利亚画派著名的画家。关于他的早年资料很少，可能来自于一个弗利的富裕家庭，他的姓氏已不可考，「達·弗利」意思是來自弗利的人。他为梵蒂冈作过画。(zh.wikipedia.org/美洛佐·达·弗利)

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)

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作者: ngsunyu 时间: 2019-9-27 00:05
本帖最后由 ngsunyu 于 2019-9-27 00:06 编辑

乌菲茲美術館藏品之一是美洛佐·达·弗利的《聖母領報》的聖母 (右側幅)，116 × 60 cm，約繪於1466-1470年。

美洛佐·达·弗利(约公元1438年至公元1494年11月8日)，是15世纪意大利翁布利亚画派著名的画家。关于他的早年资料很少，可能来自于一个弗利的富裕家庭，他的姓氏已不可考，「達·弗利」意思是來自弗利的人。他为梵蒂冈作过画。(zh.wikipedia.org/美洛佐·达·弗利)

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)

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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。

多俾亞傳是描述一個充軍亞述的以色列家族的故事，第一章到第三章的第六節都是出自納斐塔里支派的阿息耳族的托彼特的第一人稱敘述他在被充軍的經歷。他卻遭逢被鳥糞掉落眼中因而失明的悲劇。而後造成他的婚姻產生裂縫，以致他向神祈禱收去他的生命。
同時間在瑪待厄克巴塔納城裏，辣古耳的女兒撒辣也因為被惡魔阿斯摩太附身而失去七任丈夫及因此受到的冷言蜚語的壓力原想自殺，但轉念祈禱求死。而神聽到這兩人的祈禱就打發祂的天使拉斐爾醫治那兩人。

而後敘述的主體轉到托彼特之子多俾亞身上，他被父親託付了收回寄放在瑪待辣傑斯城的加貝羅那裏的寄款，而拉斐爾則化名為大阿納尼雅的兒子阿匝黎雅取得托彼特信任後成為多俾亞的旅伴和嚮導。途中在底格里斯河邊時多俾亞遭逢一隻大魚的攻擊，隨後在拉斐爾的指導下將魚膽、心和肝保存起來。

到了瑪待厄克巴塔納城時，拉斐爾又說服多俾亞到辣古耳提親，因為他們兩家的關係近，在旅行前托彼特也曾囑咐過多俾亞要在同族內找妻子，而拉斐爾也教導多俾亞以燃燒魚心肝的煙驅除附在撒辣身上的阿斯摩太。在受到辣古耳的招待時，多俾亞就請拉斐爾為他和撒拉作媒，向辣古耳提親。辣古耳雖然告知了女兒已有七任丈夫於新婚之夜和她圓房前死亡的事實，但多俾亞卻沒改變心意，辣古耳也只好答應。

是夜，多俾亞藉著拉斐爾的指示燃燒了魚的肝和心，那煙趕走了阿斯摩太，而拉斐爾則是追趕逃走的阿斯摩太到了埃及綑住。後回到辣古耳家。而辣古耳原本正做好準備要人去幫多俾亞準備後事。當他打發女傭去看視多俾亞時，卻得到回報他睡的好好的。辣古耳因此感謝天主並要人填好原本預備給多俾亞的墓穴，並著手準備婚宴。而多俾亞因為婚宴無法離去，就只好將要回寄款的任務託付給拉斐爾。在婚宴之後多俾亞協同撒辣以及拉斐爾回到尼尼微，拉斐爾交代多俾亞利用當初捕到的魚膽療愈了托彼特的眼疾，而他們又再一次慶祝多俾雅的婚禮和托比特的復明。在長達七天的第二次的婚宴結束後，拉斐爾說明他的真實身分乃是侍立在天主身旁的七位天使之一的拉斐爾。(zh.wikipedia.org/多俾亞傳)

《圣经》的记载显示，天主與撒旦的七日戰爭中，总领天使米迦勒（Michael）奋力对抗仇敌。
拉斐尔(Raphael)是猶太教、天主教及伊斯蘭教信仰中一位天使長的名字。據傳祂行使一切治癒的神迹。
根據《圣经》的记载，加百列（Gabriel）是負責為神傳訊息的天使長。

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).

第二枚是第一名意大利邮商可疑品。可疑戳粗制滥造, 很容易辨别谁是谁非。

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作者: ngsunyu 时间: 2019-9-29 00:16
本帖最后由 ngsunyu 于 2019-9-29 00:18 编辑

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。

弗朗切斯卡生前享有盛誉，许多富商都到他那里订画，然而死后被人遗忘，直到20世纪才被人重新发现。他写了大量关于数学和透视法的文章，精准的线性透视法是其作品的主要特色。他的许多作品都是花大量时间完成，背景刻画十分细致，光线清晰，空间距离感得到适当强调，构图匀称，其繪畫理論與藝術作品对当时的绘画有革命性的影响。(zh.wikipedia.org/皮耶罗·德拉·弗朗切斯卡)

費德里科·達·蒙特費爾特羅（義大利語：Federico da Montefeltro，1422年6月7日－1482年9月10日），或稱費德里科三世·達·蒙特費爾特羅，於1444年－1482年任烏爾比諾領主（於1474年被封為公爵），是一個非常傑出的義大利文藝復興雇傭軍首領及藝術贊助者，他最有名的事蹟是下令建造一座僅次於梵蒂岡圖書館的圖書館及委託盧洽諾·勞拉納（英语：Luciano Laurana）及弗朗切斯科·迪·喬爾吉奧·馬爾提尼（英语：Francesco di Giorgio Martini）修建烏爾比諾的公爵宮，該建築於1998年被列入為世界遺產。(zh.wikipedia.org/費德里科·達·蒙特費爾特羅)

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作者: ngsunyu 时间: 2019-9-30 00:09
本帖最后由 ngsunyu 于 2019-9-30 05:04 编辑

乌菲茲美術館主要藏品之一是达-芬奇的《聖母領報》，104 × 217 cm，約繪於1472年。

作品取材于宗教故事，描绘有一对双翼的天使来朝拜年轻的圣母玛利亚，告诉她怀孕了，救苦救难的基督将要出生。

在横披式的画幅右侧，坐在房子入口处附近的书架前面的，是圣母玛丽亚；左侧跪在万花如锦的草地上的是来报的天使。貌美端庄的圣母，其表情看似沉稳，却难以掩盖住内心的激动和对将要做母亲的欣喜，而左手拿着百合花正行单膝下跪礼的天使，美丽柔软的面部则表现出对圣母的虔诚和恭敬之情，而且百合花往往也是基督的象征

两位人物的姿态动作也更加强了彼此心理活动上的呼应关系。挺拔的柏树，淡蓝的天空和山岩流水的优美风景构成了画面的背景。这幅画细部的描绘精于整体的设计，这种精细的描绘不仅渲染了自然景物的优美，而且也衬托了人物的内心世界。達文西的这幅作品虽然表现手法略显细碎繁琐，但却富有浓郁的诗意气氛。(zh.wikipedia.org/圣母领报 (达芬奇)

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作者: ngsunyu 时间: 2019-9-30 22:05
本帖最后由 ngsunyu 于 2019-10-13 11:27 编辑

乌菲茲美術館主要藏品之一是桑德羅·波提切利的《三博士來朝》，111 × 134 cm，約繪於1475-1976年。画面显示《圣经》中东方三博士朝拜耶稣基督的故事。本作品是为了圣新玛利亚教堂绘制的圣餐台油画。画中画家非常巧妙的展现了自己以及其主要资助人美第奇家族的主要人物，根据乔尔乔·瓦萨里解释，画面上那个接触圣婴的脚的年老贤士，正是被誉为佛罗伦萨国父的科西莫·德·美第奇（即老科西莫）；穿白色袍子跪着的人是老科西莫的孙子朱利亚诺·德·美第奇（也是“豪华者”洛伦佐·德·美第奇的兄弟）；在他后面对那个孩子表现出感激崇拜的人，是老科西莫的次子乔瓦尼·德·美第奇；在他膝下画面中央前景出的人被认为是老柯西莫的长子皮耶罗一世·德·美第奇（即朱利亚诺·德·美第奇与洛伦佐·德·美第奇之父）；穿着黑底肩上有红色条纹长袍者可能是理想化了的洛伦佐·伊·玛尼菲科。最右面看向观者的黄衣青年正是画家本人。(zh.wikipedia.org/三博士来朝 (波提切利)

请参看第一楼全画极限明信片。票片戳三图一致的桑德羅·波提切利自画像极限明信片非常罕见，因为这枚邮戳不是首日。我不知道我是否唯一自制这枚邮戳，但我没有看到过任何其他来源, 包括意大利邮商, 有这枚邮戳。

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作者: ngsunyu 时间: 2019-10-1 23:50
本帖最后由 ngsunyu 于 2019-10-4 23:32 编辑

乌菲茲美術館主要藏品之一是雨果·凡·德·古斯的《波提納里三聯畫 (凡·德·古斯)（英语：Portinari Triptych）》，中幅253 × 304 cm，側幅233 × 141 cm，約繪於1477年。(zh.wikipedia.org/烏菲茲美術館)

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)

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作者: ngsunyu 时间: 2019-10-2 00:59
本帖最后由 ngsunyu 于 2019-10-2 01:09 编辑

乌菲茲美術館藏品之一是桑德羅·波提切利的《聖母領報》，243 × 550 cm，約繪於1481年。(zh.wikipedia.org/烏菲茲美術館)

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)

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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)

请参看达-芬奇 (Leonardo da Vinci) 逝世（1519年5月2日）500周年纪念第18~20楼。

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作者: ngsunyu 时间: 2019-10-4 00:01
本帖最后由 ngsunyu 于 2019-10-4 10:02 编辑

乌菲茲美術館主要藏品之一是桑德羅·波提切利的《春》，203 × 314 cm，約繪於1482年。

桑德罗·波提切利（Sandro Botticelli，1445年3月1日－1510年5月17日），原名亚历桑德罗·菲利佩皮（Alessandro Filipepi）是欧洲文艺复兴早期的佛罗伦萨画派艺术家。(zh.wikipedia.org/桑德罗·波提切利)

《春》（Primavera）是意大利画家桑德罗·波提切利创作于1482年的名画。1482年他以诗人波利蒂安歌颂爱神维纳斯的长诗为主题，为美第奇别墅所画。这幅画和《维纳斯的诞生》一起，成为波提切利一生中最著名的两幅画作。(zh.wikipedia.org/春 (波提切利)

在这幅画中，波提切利运用自己的想像力对古代神话故事重新演绎，人物线条流畅，色彩明亮灿烂，却又在充满着欢乐详和的气氛中，带有一丝忧愁。画面右上方是风神，他拥抱着春神，春神又拥着花神，被鲜花装点的花神向大地撒着鲜花；画面中间立着女神维纳斯，在她头顶处飞翔着手执爱情之箭的小爱神丘比特；维纳斯的右手边是三美神手拉手翩翩起舞，她们分别象征“华美”、“贞淑”和“欢悦”；画面的左下方是主神宙斯的特使墨丘利。(zh.wikipedia.org/桑德罗·波提切利).

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作者: ngsunyu 时间: 2019-10-4 23:31
本帖最后由 ngsunyu 于 2019-10-4 23:36 编辑

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)

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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)

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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)

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作者: ngsunyu 时间: 2019-10-6 00:13
本帖最后由 ngsunyu 于 2019-10-6 00:15 编辑

乌菲茲美術館主要藏品之一是桑德羅·波提切利的《維納斯的誕生》，172.5 × 278.5 cm，約繪於1484年。

1485年完成的《维纳斯的诞生》是波提切利的另一幅杰作，表现的是希腊神话中代表爱与美的女神维纳斯从大海中诞生的场景，这幅画的绘画风格在当时颇为与众不同，不强调明暗法来表现人体造型，而更强调轮廓线，使得人体有浅浮雕的感觉，而且极适合装饰作用。画面中的女神肌肤洁白，金色的长发飘逸，无愧为是完美的化身；但脸上却又挂有淡淡的忧愁、迷惘和困惑。(zh.wikipedia.org/桑德罗·波提切利)

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)

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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。

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)

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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)

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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)

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作者: ngsunyu 时间: 2019-12-27 00:17
本帖最后由 ngsunyu 于 2019-12-27 00:25 编辑

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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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。

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作者: ngsunyu 时间: 2020-1-2 00:28
本帖最后由 ngsunyu 于 2020-1-2 00:33 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.

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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作者: ngsunyu 时间: 2024-1-28 02:30
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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作者: ngsunyu 时间: 2024-1-28 03:04
本帖最后由 ngsunyu 于 2024-1-28 03:06 编辑

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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作者: ngsunyu 时间: 2024-2-4 02:27
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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作者: ngsunyu 时间: 2024-2-4 02:29
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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作者: ngsunyu 时间: 2024-2-4 02:30
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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作者: ngsunyu 时间: 2024-2-25 03:07
《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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作者: ngsunyu 时间: 2024-2-25 03:13
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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作者: ngsunyu 时间: 2024-2-25 03:19
本帖最后由 ngsunyu 于 2024-2-25 03:21 编辑

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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