Sculpture

Hellenistic art

Arte greca

Marini Marino (Pistoia 1901 - Viareggio 1980)

Roman art

Roman Art

Roman Art

Giorgio Vasari (Arezzo 1511 – 1574 Firenze), Bernardo Buontalenti (Firenze 1531 – 1608), Baccio Bandinelli (Firenze 1493 – 1560), Vincenzo de’ Rossi (Fiesole 1525 – Firenze 1587), Giambologna (Douai 1529 – Firenze 1608)

Niccolò Pericoli, detto il Tribolo (impianto); Giulio Parigi (architettura)

Roman Art

Roman Art

Roman art

Roman Art

Roman art

Roman art

Arte romana

Giovan Francesco Susini (1585 c. – 1653) and collaborators

Davide Fortini (? – 1590)

Pietro Tenerani (Torano, Carrara 1789 – Roma 1869)

Roman art

Roman art

Roman art

Roman Art

Roman art

Roman art

Roman art

Roman art

Roman art

Roman art

Roman art

Giovanni di Paolo Fancelli (first decade of the 16th century – 1586) from Baccio Bandinelli (Florence 1493 – Florence 1560)

Baccio Bandinelli (Florence 1493 – Florence 1560) and his workshop

Baccio Bandinelli (Florence 1493 – Florence 1560) and workshop

Roman art

Roman art

Roman art

Roman art

Roman art

Roman art

Roman art

Pierino da Vinci (Vinci 1530 c. – Pisa 1553)

Atticus of Aphrodisia (roman art)

Roman art

Roman art

Roman art

Roman art

Roman art

Bartolomeo Ammannati (Settignano 1511 – Florence 1592)

Gian Lorenzo Bernini (1598 – 1680)

Roman art

Roman art

Roman art

Giuseppe Cacialli (1770-1828)

Roman Art

Roman art

Roman art

Roman art

Bartolomeo Ammannati (Settignano 1511 – Florence 1592), workshop

Roman art

The tribute by the Academy of the Arts of Drawing, five hundred years after his birth

The idea of digitising the restoration documents for the ancient sculptures in the Uffizi, using SICaR goes back to 2014. SICaR is an open-source software that makes it possible to collect, organise and consult, online, all types of documents about an intervention, with the added possibility of being able to map the information on a measurable 2D image of a sculpture.

The article reconstructs the significance and structure of the theory behind the Medici-Lorraine busts which have been on display in the antiricetto of the Gallery of Statues and Paintings since the 1880’s, each one accompanied by an encomiastic text (from the Latin term elogium) regarding the contribution to the development of the museum and its collections. This display came about thanks to the Grand Duke of Tuscany Peter Leopold to honour the by then extinct Medici family in a period in which the study of pictorial history began to reflect on a period in Florentine history that had come to an end. Over time the number of portraits and the order in which they are displayed has undergone changes, eventually losing the original meaning of the Gallery’s emblematic ‘historical introduction’. The early years of the twentieth century saw a loss of esteem for Cosimo III and the elimination of his portrait once it had been ascertained that the bust did not really portray him. The discovery of the absence of this ‘forgotten Grand Duke’ from the collection of portraits, which are still exhibited in the same area, was the starting point of this analysis. In the appendix, for the first time, there are explanatory notes and a translation of the descriptions of each portrait.

The restoration, which lasted over six months, has been the first one carried out in modern times on the statue by Jacopo del Duca, a bronze copy after an ancient marble allegedly by Lysippos

Thanks to a targeted selection of works, the exhibition sets out to offer a complete overview of the art of bronze sculpture in the Tuscan capital particularly in the age of the last Medici Grand Dukes.