Uffizi

Art

Vasari, gli Uffizi e il Duca

Before entering this exhibition, take the time to examine the building that houses it. Study its façade at close range and from the opposite bank of the Arno. Contemplate its severe, stately economy. Notice the columns that seem to support more weight than they should. Allow your eye to scan the stretch of monolithic architraves, the repetitious ordering of portals. Only then will you begin to appreciate that the core of this exhibit is not in the Uffizi, it is the Uffizi.
Art

Caravaggio e caravaggeschi a Firenze, the Galleria Palatina at the Palazzo Pitti and the Uffizi (Florence). Closing January 9th

Caravaggio’s power to captivate us today makes us wonder whether he was not four hundred years ahead of his time. This anniversary exhibition, perhaps more than others across Italy, shows that he was not. His genius was readily recognized and tirelessly sought even during his own day, and even by the Grand Dukes of Florence who had every reason to restrict their patronage to the their own well-established Tuscan tradition. So while artists in Florence remained aloof to the emerging naturalism and quotidian predilections of Caravaggio and the Caravaggeschi, their rulers worked assiduously to acquire the master’s Bacchus, Medusa, and Cavadenti within the first two decades of the seventeenth century. Evidently, the Medici even had it in mind to lure Caravaggio to Florence; something they might well have accomplished had not the painter been forced to flee Rome as a wanted murderer. In his stead, the Grand Dukes enjoyed the presence of protégés such as Artemisia Gentileschi, Battistello Caracciolo, and Theodor Rombouts.
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