Sculpture
Artworks
Medici Venus
Gaddi Torso
Pomona
Wrestlers
Putto with Lightning Bolt
Sleeping Eros
Buontalenti Grotto (Grotta di Buontalenti)
Boboli Amphitheatre
Dacian prisoner
Bust of Antoninus Pius
Portrait of Lucius Verus
Statue in armour
Sarcophagus depicting the labours of Hercules
Apollino
Boy with Thorn (also known as Spinario)
Artichoke Fountain
Madama Grotto (Grotta di Madama)
Psyche Abandoned
Portrait of Nero
Portrait of Diadumenian (also known as Geta)
Portrait of Plautilla
Leda
Portrait of Vibia Sabina so-called Matidia
So-called portrait of Caligula
Portrait of Lucius Aelius
Portrait of Faustina the Younger
Nymph with panther
Bust with head of Doryphoros
Head of Zeus
The Peasant and his Barrel
Apollo
Ceres
Group of Pan and Daphnis
Portrait of Marcus Aurelius
Satyr with grapes
Female statue with ideal portrait
“Grande Ercolanese" type female statue
"Piccola Ercolanese” type female statue
Victory
Dionysus and Ampelos
Muse of Atticus of Aphrodisia
Apollo Sauroctono
Augustus
Ganymede with the eagle
Demeter
Hygieia
Mars Gradivus
Saint Lawrence
Portrait of a Young Man Marcus Aurelius
Portrait of a man, Gallienus
Crouching Venus
Model of the Monument to Nicola Demidoff
Grotto of Adam and Eve
Boar
Apoxyomenos
Pothos
Cupid with bow
Portrait of a female mule
Hercules and Antaeus
News
“To Donatello, sculptor in the world of early Renaissance art”
The tribute by the Academy of the Arts of Drawing, five hundred years after his birth
Sleeping Ariadne, Roman Art
Apoxyomenos (Athlete with a Scraper), Roman Art
An online database for the conservation and study of the Uffizi ancient sculptures
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 forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings
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.
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