After the completion of the installation work and the making of the protective case Pontormo ’s (Jacopo Carucci; Pontorme recently transferred from the Pieve di Carmignano will be on public display again from tomorrow The painting will be placed in the Hall of the Frieze of the Villa of Poggio a Caiano where another of the artist’s masterpieces the General Directorate of Museums has allocated a grant of 35,000 euros for operations related to the installation of The Visitation in the Hall of Frieze including adjustments to the microclimatic conditions necessary to protect the work In the Sala della Giostra of the Municipality of Poggio a Caiano which provided a significant financial contribution for the transportation and handling of The Visitation as well as the creation of its protective case other altarpieces from the Pieve have also been on display since September These include the Madonna of Mount Carmel and Saints by Giovan Pietro Naldini theAnnunciation and Nativity by the Florentine school the Madonna of the Rosary by Cosimo Lotti and theEcstasy of St part of the new autonomous institute of the MiC - Florentine Villas and Monumental Residences was painted by Pontormo between 1528 and 1529 for the chapel of the Pinadori a family of wealthy anti-Medicean apothecaries within the Pieve di Carmignano Although the work was never mentioned by Vasari it made a comeback thanks to Carlo Gamba’s attribution in 1924 The attribution is based on a passage in the 1677 Bocchi-Cinelli that mentions a preparatory model for the Pinadori already at the time associated with Pontormo Although traces of the model have been lost some preparatory drawings are preserved in the Gabinetto Disegni e Stampe degli Uffizi From the testamentary dispositions of Bartolomea del Pugliese we learn that the work had already been completed and intended for the family altar in the Pieve di Carmignano Paolo Pinadori’s death in 1526 probably provided an opportunity to renovate the family chapel and commission the new altarpiece The Pinadori family were also suppliers of colors for artists and had the opportunity to get to know Pontormo through Ludovico Capponi and the Confraternita di San Sebastiano the latter also known to have painted a portrait of Pinadori The altarpiece depicts the encounter between Mary and her cousin Elizabeth representing the human soul in a moment suspended between the real and the unreal reflect a complex and tormented interiority create a mystical atmosphere that transcends the earthly dimension with tall palaces characterized by pietra serena ashlar and string-course cornices Pontormo was an artist “of singular ingenuity and very proper manner,” capable of translating the subtlest nuances of the human soul into images is today considered almost a manifesto of the restlessness of Mannerism because of its figures with elongated and ovoid shapes and search for a restless and tormented beauty after accidentally seeing the work on the cover of a volume was so impressed by it that he created The Greeting an audio-video installation paying homage to the painting To emphasize the mystery of the encounter between the two women dilating a forty-five-second action into a ten-minute video The impact of Pontormesque poetics was such that Viola wanted to dedicate a sentence to the great Florentine master concluding with the touching expression “with gratitude and respect.” “The agreement between the relevant institutes of the Ministry of Culture the Diocese of Pistoia and the Parish of Carmignano and the municipalities involved,” says Stefano Casciu regional director National Museums of Tuscany "has produced a result with which we are very pleased: exhibiting Pontormo’s celebrated masterpiece in the conditions of maximum safety and accessibility in the Villa that was once Lorenzo the Magnificent’s and which houses another equally famous masterpiece by the artist I am certain that the whole territory will benefit greatly from this temporary placement in Poggio a Caiano in the hope that the Pieve di San Michele Arcangelo will be able as soon as possible to return to host a work that is identifiable to the entire community of Carmignano." “It is a great honor for the Medici Villa of Poggio a Caiano and for the Autonomous Museum of Florentine Villas and Monumental Residences to be able to return Pontormo’s Visitation to the public,” says Federica Bergamini director of the Florentine Villas and Monumental Residences visitors will be able to immerse themselves in rare as well as unpublished short-circuits between the great painting of the 16th century and many other enigmatic works Poggio a Caiano thus becomes a fascinating museum itinerary even richer and certainly unexpected.” “The choice of the Villa of Poggio a Caiano,” comments Superintendent Antonella Ranaldi “seemed the most opportune and convincing dictated by historical and artistic affinities and above all by the Visitation’s connection to the territory to which it belongs while thinking about bringing the Pieve di San Michele Arcangelo in Carmignano back to the safety conditions that will allow the return of the works to that location.” “Making Pontormo’s Visitation and the artistic heritage housed in the Pieve di San Michele Arcangelo available for the enjoyment of the entire community,” emphasizes the Bishop of Pistoia and Pescia I am certain that this placement at the Villa Medicea in Poggio a Caiano which guarantees accessibility and security and which has seen full collaboration among the institutions involved but will also be a valuable driving force to maintain a high level of attention and interest in the recovery and enjoyment of the Pieve di San Michele returning its church to the community of Carmignano as soon as possible.” “As the Municipality of Poggio a Caiano we cannot but say we are proud to have carried out such an important cultural operation,” stresses Culture Councillor Diletta Bresci “The works that have arrived in Poggio a Caiano add to the luster of our territory and go to enrich our already vast artistic and cultural heritage A great satisfaction for us that also comes from the fact that the Visitation and the altarpieces have remained within the Medici communes what we can define as their natural habitat.” It is 80 years since the Liberation of Florence from Nazi-Fascist occupation and the Uffizi Galleries commemorate the history of cultural heritage during the war.We retrace those years and events through the collection of images from the Photographic Department We also invite you to learn more about the history of Pitti Palace as a shelter for displaced persons in the city centre with the hypervision '29 July - 4 August 1944 The Republic of Pitti' and the information sheet dedicated to the 'War Damage' photographic collection Italy entered the war on the side of Germany Emergency protocols for the protection of works of art were immediately triggered in museums transportable works were packed up to protect them from bombing and taken to shelters considered safer: underground storerooms such as the one under the Loggia dei Lanzi that housed Cellini's Perseus the Medici villas of Poggio a Caiano and Petraia or even places requisitioned for the purpose (the Oratory of Sant'Onofrio in Dicomano the Sant'Antonio railway tunnel in Incisa Valdarno the Medici villa in Cafaggiolo or Villa Demidoff in Pratolino) 550 paintings and sculptures from the Uffizi left the museum to find shelter at Poggio a Caiano Revisione delle casse contenenti opere d'arte fiorentine The works that could not be moved (frescoes and decorations in churches and palaces fountains...) were enveloped to contain the damage from possible explosions sandbag barriers held up by scaffolding or even brick walls as in the case of the David at the Accademia superintendent of the Galleries (as the ministerial institute was then called) from 1925 to 1949 at that time an official and head of the Restoration Laboratory were the protagonists of this massive work of prevention Lavori di protezione antiaerea del David di Michelangelo with the advance of the Allied troops from the south was occupied by Nazi troops as early as 11 September 1943 The Anglo-American allied troops arrived in Florence in August 1944; Allied bombing had already destroyed the railway lines and several neighbourhoods near the centre (Campo di Marte while German mines destroyed the bridges over the Arno Attempts by Cardinal Elia Dalla Costa and the German consul in Florence to spare at least the 16th-century Ponte Santa Trinita were futile and on the night between 3rd and 4th August the neighbouring areas were razed to the ground Ponte Santa Trinita, Agosto 1944. Costruzione del ponte di ferro Ponte Santa Trinita distrutto dalle mine del 4 Agosto 1944 con la costruzione del ponte di ferro A large number of shots testify to the destruction of those months from Pitti Palace and Piazzale Michelangelo the moment of the mine explosion that destroyed the bridges and an important portion of the historic centre on 4th August: Por Santa Maria along with the destruction of the ancient medieval towers.. 28 shots taken by an AMG (Allied Military Government) aircraft follow the entire course of the Arno from above after bombardments and mines Lungarno Acciaiuoli dopo le mine tedesche, agosto 1944. Foto Squadra Aerea Alleata Ponte Santa Trinita dopo le mine tedesche German troops seized works of art from museums and shelters and transported them on military trucks to two warehouses beyond Bolzano: this involved 58 crates with works of all kinds more than 300 paintings stolen from the Uffizi and the Palatine Gallery as well as works raided from the shelters in Montagnana Poppi and Barberino for a total of 527 stolen paintings They were destined to form the Führermuseum in Linz Trafugamento delle opere d'arte fiorentine da parte dei tedeschi. Allegoria di Dosso Dossi. Bolzano, San Leonardo in Val Passiria Trafugamento delle opere d'arte fiorentine da parte dei tedeschi. Bolzano, San Leonardo in Val Passiria Trafugamento delle opere d'arte da parte dei tedeschi On 11 August at 6.45 am the bell of Palazzo Vecchio rang and the partisans attacked the Germans at Campo di Marte and the Cascine: it was the beginning of the end of the occupation 400 crates with works were handed over to the Allies and returned to Florence The return was supervised by Uffizi Director Filippo Rossi and Lieutenant Frederick Hartt an American art historian who had played a leading role in the preservation and recovery of the heritage and left a record of that period in the volume 'Florentine Art under Fire' (1949) a solemn ceremony in Piazza della Signoria welcomed the works Numerous shots by Lieutenant Hartt himself document these moments just as others recount the operations to recover the works from city shelters Estrazione del Perseo di Benvenuto Cellini dal ricovero sotto la Loggia dell'Orcagna, 25 giugno 1945 Ricollocamento del Perseo di Benvenuto Cellini nella Loggia dell'Orcagna, 25 giugno 1945 Ricollocamento del Perseo di Benvenuto Cellini A large amount of documentation also concerns the removal of rubble and the recovery of fragments of the Ponte Santa Trinita which soon became the symbol of the city's desire to emerge from the tragedy of war After the emergency management of the refugees (many housed inside the Pitti Palace: ‘29 July - 4 August 1944 The Republic of Pitti') and the construction of temporary bridges over the Arno the reconstruction of the cultural heritage was addressed A commission dedicated to the artistic parts of the destroyed areas made an appeal for photographs and drawings of the buildings before August 1944; the collected material was displayed in an exhibition inaugurated on 11th August 1945 at Palazzo Strozzi a committee was formed for the reconstruction 'as it was where it was' of the Santa Trinita Bridge which was to be inaugurated on 16 March 1958 The four early 17th-century statues representing the Seasons a work by Pietro Francavilla (1590-1610c.) missing its head: the search for it went on for another three years until it was found in the bed of the Arno river and reintegrated in 1961 the Palatine Gallery and the Royal Apartments in the Pitti Palace the Bargello and the Accademy Gallery reopened the war damage was substantial and mainly affected the part of the east corridor towards the Arno river and the adjoining rooms Major renovation and restoration work began which is also documented in the archives of the Photographic Department Corridoio Vasariano. Danni prodotti dalle mine dei tedeschi del 4 Agosto 1944 Frammenti della Primavera di Pietro Francavilla durante il restauro - Ponte Santa Trinita Primavera di Pietro Francavilla, da Ponte Santa Trinita, 1945 Primavera di Pietro Francavilla 1948 - Ponte Santa Trinita Primavera di Pietro Francavilla: particolare della testa recuperata tips and exclusive itineraries in Florence the work had been kept in the Church of Carmignano for security reasons which will protect the work both physically and microclimatically the Visitation will be displayed in the Sala del Fregio next to the famous glazed terracotta attributed to Bertoldo and in the vicinity of the Leone X hall the fresco with Vertumno and Pomona from 1520-21 in the Sala della Giostra of the Municipality of Poggio a Caiano the church’s altarpieces will be on display: the Madonna del Carmine and Saints (Giovanni Pietro Naldini) the Saints also by Giovanni Pietro Naldini theAnnunciation and the Nativity of Jesus by the Florentine ambit the Sala della Giostra will be accessible to the public during the evenings of the Siege of the Villa (Sept is preparing to present the new layout of the Sala del Fregio View upcoming auction estimates and receive personalized email alerts for the artists you follow The Estorick opens its 20th anniversary year with a major exhibition of works from one of the world’s most important collections of modern.. it was often difficult to appreciate the political complexity of modernism The work in question is a portrait on wood (64x48 cm.) coming from the Medici Villa of Poggio a Caiano (inv 64) and featuring an enigmatic and captivating princess supported by the eighteenth-century inventory number still visible on the back of the painting (fig Gallery of the Statues and Paintings of the Uffizi reverse side) led somewhat surprisingly to the identification of the young woman as a “Queen of Armenia” Yet this did not explain the precise description of the elaborate Medici necklace which as mentioned above is precisely documented as belonging to Camilla Martelli before being passed on to her daughter Virginia Portrait of Camilla Martelli or Virginia de’ Medici liberally embellished with imaginative lace trimming and frills the artist completely invented the face and headgear that had already alerted the most perceptive critics In fact, in the upper part of the picture there are certain stylistic elements that offer clear indications as to the artist who painted it. Since the 1990s, the painting was thought to be the work of Jacopo Ligozzi and was usually dated somewhere in the 1580s [6] certain exquisite aspects of the work could be attributed to the Veronese artist who arrived in Florence in the previous decade; in any case the work appeared to originate from that era because of the decidedly sixteenth-century gown The work's provenance from the Florentine Galleries is clear from the reappearance of an unusual painting on wood executed by Balassi in 1660 now in the Haukohl collection in Houston (fig Sir Mark Fehrs Haukohl collection); equally refined and realized with the same unique technique on wood it represents the Virgin’s face featuring the same idealized beauty of the Queen of Armenia and of many other saints and heroines painted by his hand The painting at the Gallery of the Statues and Paintings of the Uffizi can be dated with reasonable certainty to around the same time as the Madonna in the United States; dated to 1661 and with unknown location, the sensational Portrait of Vittoria della Rovere was also produced in the same period [9] characterized by archaism and an affected elegance: a period of great originality which eluded critics for a long time but was noted by biographer Baldinucci who recalled how Balassi “as he advanced in age began to develop a new style and new ideas of colour” [1] F Da ‘ritratto mediceo’ di Jacopo Ligozzi a Regina d’Armenia di Mario Balassi Un caso storico-artistico tra fortuna critica indagini documentarie e osservazioni ‘morelliane’ Catalogo completo dei dipinti e dei disegni [2] The discovery of the document containing this precise description was noted in the description of the work by C Goldenberg Stoppato in I gioielli dei Medici [3] R Orsi Landini in I volti del potere.La ritrattistica di corte nella Firenze granducale [4] Florentine State Archive [5] Sotheby’s [6] See L [7] For more information on this painter [8] F Notizie de’ professori del disegno da Cimabue in qua (1681-1728) [9] Previously part of the Koelliker collection in Milan the painting was transferred to London by Sotheby’s on 4 December 2008 News about a Painting at the Uffizi: the Queen of Armenia by Mario Balassi The porch has a heated lime-stone floor and can be screened in or glassed in, depending on the weather, by flicking several switches. William and Patricia Anton, the founders of Anton Airfood, the second-largest airport restaurant company in America, also asked White for three kitchens: There is a family kitchen and a catering kitchen on the first floor and an outdoor kitchen overlooking the lake. "We're in the hospitality business, and we like to entertain," says Patricia Anton. A grand entrance was another wish. White obliged, creating a dramatic main hall on axis with the living room. Crowning the space is a vaulted, trompe l'oeil ceiling. It is a hand-painted vision of blue sky, multicolored flowers and vines, and fanciful gold-leafed ribbon floating through clouds, inspired by the ceiling in the billiard room of the Medici villa of Poggio a Caiano in Tuscany. A room at the top of the stairs is known as the Break O Day room, after the original cottage on the property. In this vivid space, convenient to the guest rooms and the master bedroom, family and friends gather for coffee, biscotti and casual conversation in the morning. The Antons are in Harbor Springs from early June to October. "Out here we're on the western edge of the eastern time zone," William Anton says. "The summer sun sets at 10 p.m., so a big part of the day is planned around the sunset. This is a magical place." An anthological exhibition dedicated to Amighetto Amighetti a Genoese artist of Poggio a Caiano origin (both parents were born in Poggio) who died when he was only 28 years old (1902-1930) after a painting career that began at an early age is being held at the Scuderie Medicee in Poggio a Caiano until June 3.In 1924 he had his first exhibitions in Genoa received unanimous critical acclaim that allowed him to take his works to the 1928 Venice Biennale.Although listed by critics and the art market among Ligurian painters Amighetti is actually of Tuscan origin and it is in Poggio a Caiano that he rests in the cemetery There is no certain information about the frequentation in life of the two artists despite the fact that Amighetti spent the long summers at his father’s house in Loretino along the road from Comeana to Poggio a Caiano but a significant circumstance brings them close: in 1928 at the Venice Biennale Soffici was part of the jury accepting the works Amighetto was one of the painters admitted with the work “Still Life” that today can be found in the exhibition itinerary for his remarkable capacity for formal synthesis in the tender consistency of gestures and smaller figures and for family scenes is the church of San Michele Arcangelo in Comeana (open daily from 9 a.m to 1 p.m.) in which to admire the altarpiece that Amighetti made A copy from Guido Reni in which the solid and mature painter precociously formed can already be traced