An Ophrys hybrid native to the park of the Florentine royal palace has been recorded

Boboli ecosistema creativo: censito un nuovo ibrido di orchidea!

Boboli creative ecosystem: new orchid hybrid spotted!

The rich population of wild orchids is an indication of the health of the park's ecosystem

Where Nature, Art, Science and Alchemy meet

Boboli Gardens

Anacamptis pyramidalis con farfalla della famiglia Lycaenide - Photo by Rolando Romolini

Wild orchids in the Boboli Gardens

Two interpretations of “The Last Meeting between Jacopo Foscari and his Family”, inspired by Lord Byron's play “The Two Foscari”, on display together for the first time

The two Foscari by Francesco Hayez at the Gallery of Modern Art

Technology and conservation for the Royal Palace of Florence

Between public and private court life: a Palace for three dynasties

Pitti Palace

A brand new 3D model for Pitti Palace

An encounter with great Western art: an everlasting wonder

The Uffizi

The Terrace of the Map Room of the Uffizi

On the occasion of the spring flowering, the census of wild orchids in the park of the Florentine palace goes on

Wild Orchids in Boboli Gardens

I Carabinieri del nucleo TPC restituiscono agli Uffizi un dipinto del Cinquecento trafugato dalla chiesa di San Michele a Monteripaldi

Back at the Uffizi a 16th cent. Holy Family stolen in 1985

The museums welcomed 1,721,637 visitors, according to the annual ranking on museums by the journal “Il Giornale dell’Arte”

Uffizi Galleries: the most visited place of culture in Italy in 2021

19th century

Elisa Baciocchi and her court

An Italian-Polish seminar about the art of gardening in historical parks.

Citri et Aurea

16th century

Jewellery

Raphael and the jewels in the Uffizi Gallery: Elisabetta Gonzaga, Maddalena Doni and the Woman with the Veil

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

15th century

Sculpture

“To Donatello, sculptor in the world of early Renaissance art”

Conservation, collections and museography

Fresco

The Famous Men and Women of Andrea del Castagno in the Uffizi Gallery.

self-portrait

An Evanescent Corpus of Self-Portraits by Annibale Carracci in the Uffizi

The use of gilding in the classical statues of the Uffizi Gallery: the results of ten years of research.

roman art

Archaeology

Marmora aurata

The ways the Uffizi’s self-portraits of artists are perceived in the Museo Fiorentino and the definition of the term “resemblance” in the eighteenth century

18th century

“[…] Reducing to greater perfection and resemblance?”

Leopoldo de’ Medici's systematic search for the “ritratto fatto di sua propria mano"

The colour experiments by Carlo Lasinio in the Uffizis Galleria degli autoritratti

The tradition of terracotta from Impruneta used to make new pots for the Medici citrus plants

Springtime in Boboli Gardens

Paolo Veronese’s Annunciations

Alessandro Mazzanti, restauratore di “somma diligenza e rara perizia”

About the collecting history of some Iuliae Titii in the Uffizi Gallery

La collezione di Apollonio Bassetti al Gabinetto Disegni degli Uffizi

Mediality and Temporality in the ‘poietic’ Self-Portrait by Alessandro Allori (1555)

The Becoming of the Image.

La raccolta epigrafica degli Uffizi. Un dialogo aperto tra collezione storica e nuove acquisizioni

Un nuovo addetto all’officium admissionis:  Titus Aelius Proculus, liberto adrianeo

Notes on a Research Project on the Conditions of Artistic Production, Modes of Reception and Systems of Organisation in the Context of an Early Modern ‘Special Collection’

The Galleria degli autoritratti in the Uffizi.

The joint project staged by the Boboli Gardens and the Wilanów Museum begins

“CITRI ET AUREA”

The painting stolen by a German soldier during the Second World War has finally been recovered and returned to Italy on 19 July 2019

"The Flower Vase" by Jan van Huysum has returned to Pitti Palace!

The rooms of the Andito degli Angiolini in Pitti Palace confirm their vocation as a space for contemporary works at the Uffizi Galleries by hosting the "Tesfaye Urgessa. Beyond" exhibition from 18 December 2018 to 3 February 2019.

Figures and symbols in the art of Tesfaye Urgessa on show at the Andito degli Angiolini in Pitti Palace

14th century

Crucifixion

Crucifixion by Niccolò di Pietro Gerini

Sleeping Ariadne, Roman Art

Christ Blessing

Christ Blessing by Spinello Aretino

Piero Aranguren (Prato 1911-Florence 1988) was the architect who brought back the “Museo Firenze com’era (Museum of Florence as it was)”, after a long period of oblivion and directed it for twenty years, from 1955 to 1975. The Uffizi Library has received the donation of his archive, precious documents concerning the transformation of the city during the 19th and 20th centuries. The archive contains a wealth of curious facts and information about bridges, roads, piazzas, theatres, transport, lighting and buildings of different types.

Donation

Traces of the “Museo Firenze com’era" in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library

Apoxyomenos (Athlete with a Scraper), Roman Art

Painting

Madonna

Sienese Painting

Presentation of the Virgin in the Temple by Niccolò di Buonaccorso

Baroque painter and printmaker Elisabetta Sirani (1638-1665) was one of Bologna's most innovative and influential artists, especially on the women artists of the city. Considered by her contemporaries as the "best brush in Bologna" and an established "maestro", she developed an elegant and expressive style. This article will examine Elisabetta's artistic agency and legacy: her promotion to head of the Sirani workshop and establishment of an art school for girls; and propose some new attributions.

17th century

Maestra Elisabetta Sirani “Virtuosa del Pennello”

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.

An online database for the conservation and study of the Uffizi ancient sculptures

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 forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings

What is widely known in the Western world as Arabesque refers of an artistic representation of the interminable order and unison of nature that leads to infinity. Epigraphic, geometric and floral figures are meticulously brought together to form a pattern that repeats itself seemingly endlessly. If we dare to look close enough, the notion of an unbreakable continuity will appear almost naturally in the designs of many of the art pieces elaborated in the islamic art

Florence

Islam

Florence and the Middle East. A Cultural Arabesque

The publication of the reproductions of I Disegni della R. Galleria (The Drawings of the Royal Gallery) was launched in 1912 by Giovanni Poggi, the then Director of the Uffizi Gallery. He entrusted the task to the renowned book collector Leo Samuel Olschki, who went on to complete the work in 1921. To encourage sales of the so-called “Portafogli Olschki” and recuperate the initial costs, a connection was forged between the published reproductions and the annual exhibitions.

Department of Prints and Drawings

Pasquale Nerino Ferri

The promotion of the collection of prints and drawings of the Uffizi and the publication of the “Olschki Portfolios” (1912-1921)

Archival research and meticulous stylistic studies have led to the complete reinterpretation of a painting of the Uffizi Galleries. Previously believed to be a portrait of a member of the Medici family by the hand of late sixteenth-century painter Jacopo Ligozzi, the work has now been identified as a fictional representation of the “Queen of Armenia”, realized almost a century later by artist Mario Balassi.

News about a Painting at the Uffizi: the Queen of Armenia by Mario Balassi

The Niches Room of Pitti Palace hosts an exhibition dedicated to Anton Raphael Mengs and his relationships with Florence. Painted by Mengs in Florence and today preserved in the Prado Museum, the three portraits of the children of Pietro Leopoldo of Habsburg-Lorraine and Maria Luisa of Bourbon are shown alongside the portrait of Ferdinand and Maria Anna recently acquired by the Uffizi Galleries. Around this central group are other portraits of the Habsburg-Lorraine family by other painters one of whom, Johan Zoffany, particularly stands out. The self-portraits of both these artists from the Uffizi collection are also present. The exhibition also includes two letters from Mengs and a manuscript dedicated to Correggio and to his works, written by the painter during his stay in Florence.

Insights