1.1 三博士來朝

桑德羅?菲利佩皮，著稱波提切利（佛羅倫薩，1445～1510），及十八世紀(jì)畫家 1500～1510年板面蛋彩畫, 部分著色于十八世紀(jì)烏菲齊博物館藏

SANDRO FILIPEPI, CALLED BOTTICELLI (FLORENCE 1445 - 1510) AND 18TH CENTURY PAINTER The Adoration of the Magi 1500 - 1510 Tempera on panel, partially colored in the 18th century Uffizi Gallery

此畫的主場景構(gòu)框是由一些巨大的巖石堆襯托而成。沿景觀向后繼續(xù)延伸，可以看到在明亮的天空下，廣闊的丘陵地帶漸漸消失于遠(yuǎn)方的地平線上。其間，可瞥見巨大的、防御堅固的耶路撒冷城墻。那些絡(luò)繹不絕從四面八方奔走而至的形形色色的人們云集在三位圣賢之士的周圍，朝拜神的化身的嬰兒（耶穌）。據(jù)圣經(jīng)記載，畫中三圣賢跪在為了拯救世界而降生的圣嬰之前膜拜。此畫是波提切利在他生命的最后期間所創(chuàng)作，但鑒于一些未知的原因，他未能真正完成此畫的著色。可能至十八世紀(jì)時，才被他人沿襲著這位十五世紀(jì)偉大畫家的創(chuàng)意和構(gòu)思，添加了部分色彩。即便如此，在這幅波提切利臨終前的最后的作品之中，我們?nèi)钥擅鞅嫫浼?xì)膩而且極富表現(xiàn)力的特征。

Beyond the colossal rock formations that frame the main scene, stretching out beneath a luminous sky is a vast landscape with hills on the horizon, in which can be glimpsed the walls of a large, fortified city, Jerusalem. Along the road coming from these regions advances a great multitude of men in the most varied of attitudes, hastening to adore Jesus, following the entourage of the Magi. The three wise men, who according to the sacred texts, came to adore him, are in fact shown kneeling in the foreground before the infant, at once human and divine, who was to save the world. The painting was executed by Botticelli in the last years of his life, but for reasons unknown was never completed. This is why, possibly in the eighteenth century, an attempt was made to complete it, adding the colour while following the design of the great fifteenth-century master. However, since this operation too was left unfinished, we can still recognise the minute and expressive touch characteristic of Botticelli’s last works.

1.2 維納斯和丘比特、狗及鵪鶉

提齊亞諾?維切利奧，著稱提香（皮葉維-迪卡多列，1488～1490～威尼斯，1576）約1550年布面油畫烏菲齊博物館藏

TIZIANO VECELLIO, BETTER KNOWN AS TITIAN (PIEVE DI CADORE, PROBABLY BETWEEN 1488 AND 1490 - VENICE 1576) Venus and Cupid, Dog and a Partridge c. 1550 Oil on canvas Uffizi Gallery

絢麗的女神維納斯，佩戴著珍貴的珠寶，裸體側(cè)臥，背后有愛神丘比特與其相撫擁。畫面上還有一只象征忠誠的狗和一只鵪鶉，用以暗示貪婪的欲望和多生多育。畫中人物的構(gòu)圖安排，似乎來源于米開朗基羅（Michelangelo）于1532年～1533年間創(chuàng)作的形象畫“維納斯與丘比特”的創(chuàng)意。可能提香于1545年間在羅馬時見過該畫，也可能是間接從瓦薩里（Giorgio Vasari，1511-1574，意大利畫家，建筑師和作家）的臨摹品那里對該畫得以領(lǐng)略。瓦薩里于十六世紀(jì)四十年代早期，曾為那些專門從事征訂繪畫的威尼斯富豪們臨摹一些原作。我們也應(yīng)考慮，米開朗基羅的創(chuàng)作也可能參照了他于1529年間在威尼斯短暫旅居時，曾研究過的其它類似版本。事實上在威尼斯繪畫界中，最卓越的還是由喬爾喬涅(Giorgione)在年輕的提香協(xié)助下所創(chuàng)作的經(jīng)典之作《入睡的維納斯》。此畫是眾多威尼斯藝術(shù)家以側(cè)臥女神為主題的作品系列的一部分。其中也包括那幅于1538年創(chuàng)作的名畫《烏爾比諾的維納斯》，該畫現(xiàn)也收藏于烏菲齊博物館。

1.6 草地上的野餐

菲利普?德?安杰利，又名菲利普?納波利塔諾（羅馬? 1589?～1629） 1619年布面油畫烏菲齊博物館藏

FILIPPO D’ANGELI, CALLED FILIPPO NAPOLETANO (ROME? 1589? - 1629) Picnic on the Grass 1619 Oil on canvas Uffizi Gallery

這幅畫與《鄉(xiāng)村舞會》都是為了裝飾碧提宮中的公爵寓所而訂制的。在這幅畫中明顯可見畫家用以表現(xiàn)風(fēng)景畫的技法，類似“意大利化”北方派畫家們的技法。灰綠色顏料和藍(lán)色的基調(diào)使人聯(lián)想到古羅馬藝術(shù)家阿戈斯蒂諾?塔西（Agostino Tassi），因此，一度曾被誤認(rèn)為是塔西所作。這幅畫對大自然的精確描述，林地中的栩栩如生、惟妙惟肖的變化和一群飛向浩瀚天空的鳥兒；近前，畫家用較小的場景生動地描繪出草地上的野餐以及野餐所用的器皿和食物。這樣的技法使人聯(lián)想到雅克?卡洛（Jacques Callot）的素描速寫畫，以及由“班博西昂塔”(Bamboccianti)畫派的技法。（見展品《鄉(xiāng)下的沐浴風(fēng)情》和《厄米尼婭與牧人相伴》）

The canvas was delivered to Grand Duke Cosimo II de’ Medici a year after the completion of Country Gathering; both of the unusually large paintings were intended to decorate the ducal apartment in Palazzo Pitti. The artist’s Roman training can be seen in his approach to landscape painting analogous to that of the “Italianized” Northern painters; the palette of greygreen and blue tones recalls instead the works of the Roman artist, Agostino Tassi, to whom the painting was long attributed. The scientific precision in the description of nature recreates a microcosm of movement along the riverside animated by variegated patches of woodland and a flock of birds flying through the distant reaches of a vast sky. Small figures act out the lively scene of a picnic on the grass with their crockery and victuals visible in the foreground in a manner that recalls the pen sketches of Jacques Callot and precedes by a few years the popular scenes of everyday life painted by the group of artists known as the “Bamboccianti”

1.18 隱士

安東?弗朗西斯科?佩魯茲尼（安科納，1646或1647～米蘭，1724）和亞歷山大?馬尼亞斯科（熱那亞，1667～1749）約1703～1704年布面油畫烏菲齊博物館藏

ANTON FRANCESCO PERUZZINI (ANCONA 1646/1647 - MILAN 1724) WITH ALESSANDRO MAGNASCO (GENOA 1667 - 1749) Landscape with Hermits c. 1703 -1704 Oil on canvas Uffizi Gallery

本畫與另一幅同名畫，連同它們的兩位作者的參考資料，均列入了梅迪奇家族費爾迪南多大公的1723年收藏品財產(chǎn)清冊。費爾迪南多大公酷愛那些不拘謹(jǐn)筆法的繪畫。這類近乎威尼斯畫派的繪畫，早期曾出現(xiàn)在佛羅倫薩的藏品中，當(dāng)時的人們認(rèn)為，只要掌握這種繪畫技法，就能獲得成功。根據(jù)1703年之后的意大利托斯卡納區(qū)官方記載，這一對同名為《隱士》的畫是兩位藝術(shù)家成功合作的完美典范。兩幅《隱士》畫的完美合作顯現(xiàn)了風(fēng)景畫的進(jìn)步和藝術(shù)創(chuàng)新，兩類藝術(shù)大師在風(fēng)景畫中的兩種不同的筆鋒風(fēng)格的巧妙融合盡顯其中：一種風(fēng)格是佩魯茲尼的即興自由發(fā)揮的藝術(shù)手法及特征；另一種是時人所公認(rèn)的馬尼亞斯科的大膽的、火焰般豪情的標(biāo)志性風(fēng)格。

This and the following painting (cat. no. 1.19) are listed with references to both authors in the 1723 inventory of the collection of the Grand Prince Ferdinando de’ Medici whose passion for paintings characterized by a freedom in brushwork akin to the Venetians explains the early presence in the Florentine collections of landscapes by artists, certain of future success, who represented this new trend in taste. This pair of Landscapes with Hermits is a perfect example of the two artists’ collaboration, recorded in Tuscany after 1703. It shows progressive and virtuoso disintegration of material solidity in the landscape intended as a free excercise characteristic of Peruzzini and the “bold” and “highly spirited” flamelike figures that contemporaries already recognized as the signature style of Magnasco.

1.20 瀑布風(fēng)景

克勞德?約瑟夫?韋爾納（阿維尼翁，1714～巴黎 1789） 1743～1748年布面油畫烏菲齊博物館藏

CLAUDE JOSEPH VERNET (AVIGNON 1714 - PARIS 1789) Landscape with Waterfall 1743 - 1748 Oil on canvas Uffizi Gallery

這幅畫描繪了一片濃密森林中的特色情景：巨大的瀑布從那可望不可及的陡峭的石崖峭壁上瀉落而下。有四位主要的人物在瀑布前面惶惑不安地等待著什么。在他們的附近，站著一位衣衫襤褸的可憐的貧苦婦人，手持一根自制的漁桿，手臂上還挎著一個柳條籃子。1801年，這幅畫與其姐妹篇，一幅描繪風(fēng)暴中海上遇難船只的畫，被同時購得，那幅畫是法國畫家韋爾納畫的許多海景畫之中的一幅，克勞德被認(rèn)為是當(dāng)時的主要風(fēng)景畫家之一。他曾長期居于羅馬，有機會向藝術(shù)大師薩爾瓦多?羅薩（1615～1673）學(xué)習(xí)，克勞德最后于1753年回到法國。本畫應(yīng)該是他在羅馬旅居時的最后階段所畫。

The painting represents a dense woodland, characterised by inaccessible and precipitous, rocky cliffs from which a large cascade of water falls into a flat space underneath, in front of which the four main figures are fearfully waiting. Standing nearby, a lady in poor, worn-out, purple clothes is holding a handmade fishing rod and under her arm, a wicker basket. The work was bought, together with its companion piece that depicts a shipwreck in stormy seas, in 1801. It is one of the many seascapes produced by French painter Claude Joseph Vernet, considered to be one of the main landscape artists of his time. He remained for a long time in Rome with the opportunity to study with the great master, Salvator Rosa (1615-1673). The proposed date of the work suggests that it was done towards the end of the painter’s sojourn in Rome, who finally returned to France in 1753.

1.24 亞諾河圣三位一體橋風(fēng)光

文森佐?托雷賈尼（布得里歐，1732年前～博洛尼亞，1782年后）約1750年布面油畫烏菲齊博物館藏

VINCENZO TORREGGIANI (BUDRIO, ANTE 1732 - BOLOGNA, POST 1782) View of the Arno with the Santa Trinita Bridge c. 1750 Oil on canvas Uffizi Gallery

1744年，朱塞佩?佐奇雕刻了“佛羅倫薩風(fēng)光”的系列雕刻藝術(shù)品。其中包括這幅畫里所顯現(xiàn)的，從阿諾河（Arno）彼岸的奧爾特拉諾(Oltrarno)看到的圣三位一體橋的壯觀景色的雕品，使這一壯觀的風(fēng)光在十八世紀(jì)至十九世紀(jì)時名聲高揚。該系列風(fēng)景畫也有佐奇的手繪版本，是以“著名的卡納萊托方式”繪制的。另外還有幾個雕刻版本的制品，它們與居住在佛羅倫薩的盎格魯-撒克遜人的群體有關(guān)，其中包括兩位英國人，賀拉斯?曼（Horace Mann）和畫家托馬斯?帕奇（Thomas Patch）及他們的朋友。因此這幅畫曾一度被認(rèn)為是他們所畫。現(xiàn)在這幅畫已被確認(rèn)是波倫亞畫派的畫家托雷賈尼在他旅居佛羅倫薩時所畫。當(dāng)時他曾依據(jù)佐奇雕刻品的透視畫法的藍(lán)圖創(chuàng)作了多幅繪畫。

The great popularity in the 18th and 19th centuries of the view of the bridge of Santa Trinita, seen from the Oltrarno neighbourhood, was due to its inclusion in the famous series of views of Florence engraved by Giuseppe Zocchi and published in 1744. There were also some painted versions of the series, by Zocchi’s hand as well, “in the manner of the famous Canaletto”. Dependant on the engravings are the numerous pictorial versions dating to the second half of the 18th century, closely linked to the Anglo-saxon community resident in Florence, and in particular to two Englishmen and friends living in Via Santo Spirito di là (on the other side) of the Arno, Horace Mann and the painter Thomas Patch, to whom this view was previously attributed. The author is instead now recognized as the Bolognese painter Torreggiani, who sojourned briefly in Florence executing numerous paintings based on the perspectival blueprint of Zocchi’s engravings.

2.1 萊達(dá)與天鵝

雅科波?科敏，別名羅巴斯蒂，又名丁托列托（1518或1519～威尼斯，1594）約1551年布面油畫烏菲齊博物館藏

JACOPO COMIN ALIAS ROBUSTI CALLED TINTORETTO (1518 or 1519 - VENICE 1594) Leda and the Swan c. 1551 Oil on canvas Uffizi Gallery

根據(jù)古希臘神話故事，眾神之父宙斯愛上了斯巴達(dá)國的王后萊達(dá)，他變成一只天鵝去引誘她。親近過后不久，萊達(dá)產(chǎn)下兩個雙黃蛋，孵出兩男兩女：雙子卡斯托耳（Castor）和波盧克斯(Pollux)及他們的妹妹雙女海倫及克呂泰涅斯特拉（Helen and Clytemnestra）。在本畫中，畫家丁托列托選擇了描繪在發(fā)生交合之前的情景，在畫面的中間，狡猾的宙斯擺出極其性感的姿態(tài)向王后求愛。按文藝復(fù)興繪畫的慣例，畫中的各元素都要烘托人體主角。本畫中藝術(shù)家的構(gòu)圖的重點就是美化萊達(dá)的身體曲線，因此他不惜用過分慷慨的大幅的天鵝絨來襯托萊達(dá)的身體曲線；還用天鵝的長長的彎曲的脖子來影射詩意的表白；用快提而有力的筆法使紅色的幔帳更具渲染的效果，來襯托那面色的蒼白。

According to ancient Greek mythology, Zeus, the father of the gods became enamoured of Leda, Queen of Sparta, and transformed himself into a swan to seduce her. Following this union, from two pairs of eggs, the male twins, Castor and Pollux, were born and their sisters, Helen and Clytemnestra. In this painting, Tintoretto chose to depict the moment prior to the sexual union, as the wily Zeus is courting the queen, positioned in the centre of the painting in an extremely sensual pose. As is frequently the case in Renaissance paintings, each element present is subordinated to the dominant role of the human body, masterfully conceived by the artist to enhance the contours of Leda. Thus the lavish velvet fabrics are arranged so as to echo the curves of her body, with a poetic dialogue set up also with the long, supple neck of the swan. Similarly, the colour of the red drapery, rendered with rapid and vigorous brushstrokes regardless of analytic precision, is designed to set off the delicate pallor of the flesh.

2.2 浮華的寓意

安東尼奧?德?佩雷達(dá)（巴利亞多利徳，1611～馬德里，1678） 1660～1670年布面油畫烏菲齊博物館藏

ANTONIO DE PEREDA (VALLADOLID 1611 - MADRID 1678) Allegory of the Vanities 1660 - 1670 Oil on canvas Uffizi Gallery

這幅巨畫可能創(chuàng)作于西班牙菲利普四世的統(tǒng)治時期（1605～1665），畫家用技能高超、學(xué)識淵博的構(gòu)圖方式，通過一系列象征性的物品，暗示了看破塵世虛榮后的醒悟。畫面的左側(cè)是幾個陰森森的骷髏，象征著生命的短暫；一些盔甲的碎片，象征著武力的瞬態(tài)；還有一箱珠寶、一些錢幣和撲克牌散放在鋪著華麗的紅色桌布的桌上，含蓄地映射著人世間的財富也不過是匆匆過往的身外之物。畫面上最冠冕堂皇的物品，就是那花瓶和并排的地球儀，象征著皇家權(quán)勢。這幅畫的復(fù)雜寓意最后終結(jié)在左側(cè)的那副“世界末日的大審判”的畫中。

The painting, of large dimensions, probably executed under the reign of Philip IV of Spain (1605-1665), addresses a theme with which the artist was particularly familiar. Constructed in a skilful and erudite manner, it portrays the disenchantment and vanity of mortal life through an array of symbolic objects. Set upon the surface at the left, of a sepulchral simplicity, are several skulls, emblematic of the transitory nature of existence and some fragments of armour, evoking the transience of the force of weapons. A casket of jewels, numerous coins and playing cards are spread upon a table covered in a magnificent red cloth, and probably allude to the fleeting nature of worldly wealth. Crowning the entire composition is a vase of cut flowers, an ulterior memento mori juxtaposed to the terrestrial globe, emblematic of royal power. The complex symbolism of the painting is completed, on the left, by a sort of painting within the painting portraying a “Last Judgement”.

2.6 貝殼

朱塞佩?魯歐波羅（那不勒斯，1630～1710）約1670～1690年布面油畫烏菲齊博物館藏

GIUSEPPE RUOPPOLO (NAPLES 1630? - 1710) Still Life with Shells c. 1670 - 1690 Oil on canvas Uffizi Gallery

這幅畫是這位那不勒斯藝術(shù)家的繪畫規(guī)范的代表作。它繪出了特色各異的多種靜物：花、水果、蔬菜、蘑菇、軟體動物、魚和位于中間的一只貝殼，這只貝殼給整幅作品起到畫龍點睛的效果。畫的正中則被兩個已經(jīng)切開、即可食用的海膽。另一個亮點是貝殼旁邊的兩條魚，其中一條好像是海鯉。這幅“圖說分明”的畫也表露朱塞佩緬懷在他叔叔喬萬尼?巴蒂斯塔?魯歐波羅（Giovan Battista Ruoppolo，1626-1693）畫室學(xué)徒期間的難以報答的恩情。在那個階段，他也受到以著名畫家朱塞佩?雷科（Giuseppe Recco）（展品《魚》的作者）為首的那不勒斯藝術(shù)家們的深刻影響。

The painting very plausibly epitomises the pictorial canons of this Neapolitan artist, illustrating the various typical characteristics of the still life: flowers, fruit, vegetables, mushrooms, molluscs, fish, and in the centre, a shell placed to sumptuously enrich and define the entire composition. All the elements are gathered in the foreground, but the symbolic centre of the painting is occupied by two sea urchins, cut in half ready to be eaten. Another captivating aspect is represented by the two iridescent fish, one of them apparently a sea bream, set to the right of the shell. The painting illustrates the artistic debt that the Neapolitan artist probably accumulated during his apprenticeship in the workshop of his uncle Giovan Battista Ruoppolo (1626-1693), while also undoubtedly encapsulating the influence of the artists who were active in Naples in the second half of the seventeenth century, foremost among them the famous Giuseppe Recco.

2.16 花瓶

十七世紀(jì)下半葉佚名畫家十七世紀(jì)末 布面油畫烏菲齊博物館藏

PAINTER OF THE SECOND HALF OF THE 17TH CENTURY Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery

一只厚身水晶花瓶陳放在石座之上，位于畫面正中央，無名畫家構(gòu)想出一束繽紛艷麗的鮮花，其中大多數(shù)已在瓶中吐蕊綻放，我們似乎感受到玫瑰、康乃馨、郁金香、鳶尾花和鈴蘭的幽幽芬芳。作品采用中央視角的構(gòu)圖，洋溢著高貴端莊的氣息，花朵交錯掩映，花冠垂下枝頭，這份脆弱的欣喜，更增添了畫面親切之感。在色彩選擇方面，粉紅、藍(lán)色和紫色等冷色，綴以橙色、紅色等暖色，使整體色彩達(dá)到平衡和諧。作品中兩朵橙色花從枝頭飄落，悠悠舞向地面。晶瑩的水滴從壺中滴落而下，沿著大理石架邊緣細(xì)細(xì)流淌。

Standing upon a stone pedestal and set precisely in the centre of the painting is a full-bodied crystal vase in which the anonymous artist has imagined a luxuriant bunch of flowers, mostly already in full-flower, in which we can recognise roses, carnations, tulips, iris and lilies-of-the-valley. The central perspective of the composition gives the painting a noble monumentality, rendered more gracious by the fragile triumph of the flowers that entwine with each other, drooping beneath the weight of the corollas. The selection of colours, in which the cold tones of pink, blue and violet are interspersed with the warmer shades of orange and red, contributes to make this painting a small masterpiece of chromatic balance. The work also features fine proof of illusionistic virtuosity in the shape of the two orange flowers that have become detached from the bunch and are falling towards the ground, and the drops of water dripping from the jug and trickling along the edge of the marble shelf.

2.20 花瓶

安德烈?斯卡恰蒂（佛羅倫薩，1644～1710）十七世紀(jì)末 布面油畫烏菲齊博物館藏

ANDREA SCACCIATI (FLORENCE 1644 - 1710) Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery

這幅作品非常出色，展現(xiàn)了斯卡恰蒂最喜愛的畫面構(gòu)圖，這只花瓶宛如一位觀者靜立于色彩繽紛的花卉慶典中。一束鮮花插在裝飾花瓶中，陳放在光滑而簡約的平面上，這與姹紫嫣紅的花團(tuán)形成鮮明的對比，形成視覺上的沖擊。展顏怒放的郁金香、玫瑰和康乃馨便是眾人目光的焦點，她們早已不再含苞待放，即將臨近所有切花的共同歸宿。它令人聯(lián)想起美麗易逝，人生短暫。此外，作品也流露出自然元素，左下方一枝黃色郁金香露出桌面，似乎將從瓶身滑出。1865年，這幅作品與費羅尼收藏品一起被烏菲齊博物館珍藏。

A very beautiful painting illustrating one of Scacciati’s favourite types of pictorial composition, this vase of flowers offers itself to the observer like a colourful celebration of a rich and heterogeneous group of species. The bunch of flowers is gathered in a decorated vase set upon a smooth and simple surface that contrasts with the opulence and colours of the flowers that completely invade the scene of the painting. The gaze is captivated by a jubilation of tulips, roses and carnations that are no longer buds, but are already fully open, and fast approaching the fate common to all cut flowers. It is a sort of sumptuous vanitas that reminds us of the ephemeral nature of beauty and the transience of earthly life. Furthermore, the painting also reveals an element of naturalistic intention that surprises the observer in the illusion of the yellow tulip at the lower left which protrudes beyond the surface of the table almost as if it is falling out of the vase. The painting entered the Uffizi in 1865 along with the Feroni Collection.

2.25 土耳其兵器

巴托洛梅奧?賓比（塞蒂尼亞諾，1648～佛羅倫薩，1723）約1700年布面油畫烏菲齊博物館藏

BARTOLOMEO BIMBI (SETTIGNANO 1648 - FLORENCE 1723) Turkish Arms c. 1700 Oil on canvas Uffizi Gallery

這幅畫是費爾迪南多親王委托賓比創(chuàng)作的，親王對他的模仿天賦十分熟悉，要求賓比用兩幅大型油畫，描繪梅迪奇保存在烏菲齊博物館幾間房內(nèi)的軍械庫中的土耳其兵器，大公家族沒落后，大部分兵器已經(jīng)流失，唯一幸存的是這一組畫作。此畫描繪了覆蓋了一條東方桌毯的桌子上一堆吐射著寒光的手槍、火槍、短彎刀、匕首和馬具，以及珍貴的絲綢面料，它們似乎是從一場驚心動魄的戰(zhàn)爭中繳獲的戰(zhàn)利品。從這些精心描繪的刀槍、面料光澤中可以看出畫家精湛的繪畫技巧，畫面保存著不變的魅力，展現(xiàn)了他不同尋常的品味與異國情調(diào)的物品。

This painting was commissioned from Bimbi by Prince Ferdinando who, being acquainted with his gifts of imitation, asked him to portray in two large canvasses the Turkish weapons from the Medici armoury which were conserved in several rooms annexed to the Uffizi Gallery, and which were largely lost after the grand ducal family died out. In the only surviving painting of the pair, the artist portrays – posed upon a table covered with an oriental carpet – a glittering pile of pistols, muskets, scimitars, daggers, horses’ harness and precious silk fabrics, as if they were the booty of some fantastic battle. The result is an extraordinary proof of pictorial virtuosity in which the objects and the fabrics acquire a precious lustre, conserving unaltered the enthralling captivation they must have exerted in the imagination of this sophisticated patron and illustrating his taste for unusual and exotic objects.

3.1 男孩肖像

（傳）洛倫佐?迪?庫若迪（佛羅倫薩，約1459～1537）十五世紀(jì)末 畫板油畫烏菲齊博物館藏

LORENZO DI CREDI (FLORENCE c. 1459 - 1537), attr. to Portrait of a Young Boy 15th cent., end Oil on panel Uffizi Gallery

朦朧的深色背景下，透出一縷微弱的亮光，襯映出一個男孩的肖像，他戴紅帽，穿樸素的棕色長袍，神情專注，若有所思。這件作品過去認(rèn)為是馬薩喬的作品，在1675年的目錄清單中曾有所描述。該繪畫以皮耶羅?迪?科西莫(Piero di Cosimo)之名展出。隨后，被正式認(rèn)定為洛倫佐?迪?庫若迪的作品，他是委羅基奧(Andrea del Verrocchio)的學(xué)生和追隨者，也是達(dá)?芬奇和佩魯吉諾(Perugino)的同學(xué)。作品斷代為1490年之后。畫家賦予沒有采用傳統(tǒng)模式的板畫肖像畫，這往往受限于贊助人的苛刻期望。他摒棄了筆直的站姿，而將人物設(shè)定為頭部自然傾斜，同時減少凝滯姿態(tài)，這樣體現(xiàn)了人物獨特的洞察力，并使形態(tài)更具流暢性。

Standing out against an indefinite dark background, just faintly lit by a weak light, is the portrait of a youth wearing a red hat and a simple brown gown, his face marked by a concentrated and thoughtful expression. The work appears to correspond to a painting originating from the estate of Cardinal Leopoldo de’ Medici, attributed in the past to Masaccio and described in the inventory of 1675. It was displayed in the Sala di Prometeo in the Palazzo Pitti and later transferred to the Uffizi in 1861 when some of the rooms in the Gallery were closed to the public, being displayed as a work by Piero di Cosimo. Subsequently it was re-attributed to the pictorial production of Lorenzo di Credi, pupil and follower of Andrea del Verrocchio and study companion of Leonardo da Vinci and Perugino. It was part of a series of portraits, datable after 1490, in which the artist – freer here than in the panel portraits of traditional format bound by the expectations of demanding patrons – arranges his sitters no longer in an erect posture, but with the head tilted in various more natural and less static positions, endowing them with particular insight and fluidity of attitude.

3.8 男子肖像

（傳）米歇爾?托西尼，又名米歇爾?德?基蘭達(dá)約（佛羅倫薩，1503～1577）約1545年畫板油畫烏菲齊博物館藏

MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (FLORENCE 1503～1577), attr. to Portrait of a Man c. 1545 Oil on panel Uffizi Gallery

棚木鑲板，光滑的壁柱垂直進(jìn)行分割，這便構(gòu)成了這幅肖像的背景。畫中架子覆蓋著皮革，上面擺放著一只墨水瓶，幾張封口的信箋和一本筆記本。這更像是中產(chǎn)階級家庭的寫字臺，而不是學(xué)者的書房。此前，人們認(rèn)為此畫是弗朗西斯?薩爾維亞蒂(Francesco Salviati，1510-1563）或弗朗西斯?布里納(Francesco Brina)的作品，而米歇爾?托西尼的作品常令人聯(lián)想起僵硬的姿勢，圓胖的手和手指幾乎沒有任何握力，因此認(rèn)為是米歇爾?托西尼的作品才更有說服力。畫作修整后再次揭示了畫面原有的著色，展現(xiàn)了珠寶的精致細(xì)節(jié)，以及胡須、金發(fā)的微妙處理。遺憾是桌上的信封沒有清晰寫明地址，那可是有助于確認(rèn)年輕男子身份的重要線索。

Hinged onto the wooden panelling, divided vertically by smooth pilaster strips that forms the background to this portrait, is a leather-covered shelf, on which are arranged an inkstand, some sealed letters and a notebook. Consequently it is more likely to represent a writing-table in a bourgeois residence rather than the study of a scholar, where we would also expect to find books. Previously attributed to Francesco Salviati (1510-1563), the painting has recently been connected with Francesco Brina and, more persuasively attributed to Michele Tosini, whose work is evoked recalled in the stiffness of the pose and the rounded hands and fingers, almost without grip. Restoration has brought to light again the original colouring, the refined details of the jewels and the delicate treatment of the beard and blond hair, although it did not render legible the addresses on the letters set upon the desk that could have provided precious valuable clues to the identity of the young man.

3.10 法國王后

瑪麗亞?德?梅迪奇肖像（佛羅倫薩，1573～科隆，1642）喬萬尼?利奧納爾多?亨納（1617～1641活躍于佛羅倫薩） 1628年布面油畫烏菲齊博物館藏

GIOVANNI LIONARDO HENNER (ACTIVE IN FLORENCE BETWEEN 1617-1641) Portrait of Maria de’Medici, Queen of France (Florence 1573 - Cologne 1642) 1628 Oil on canvas Uffizi Gallery

這幅畫被認(rèn)為是由弗蘭斯?普布斯(Frans Pourbus)保藏于佛羅倫薩的瑪麗亞?德?梅迪奇(Maria de’Medici)的兩幅畫像中的原版作品之一。作者喬萬尼?利奧納爾多?亨納是喬萬尼?碧利沃特(Giovanni Bilivert)的門生。畫中人物便是托斯卡納大公爵弗朗切斯科一世和奧地利喬安娜的女兒——瑪麗亞。1600年，她嫁給了法國國王亨利四世；1610年，瑪麗亞加冕為王后，之后不久，她的丈夫不幸被暗殺。畫中描繪的王后身穿一襲珍貴的藍(lán)色絲絨長裙，采用立體浮雕繡法，綴上金色百合（佛羅倫薩的標(biāo)志），她用300余顆大珍珠，眾多頂面磨平的鉆石裝點一身，而這僅僅是她精美珠寶中的一部分。

This painting is considered to be an ancient original copy of one of the two portraits of Maria de’ Medici by Frans Pourbus the Younger conserved in Florence, one in the Uffizi Gallery and the other in the Palazzo Pitti. Both of these had pendant pieces, portraying Henry IV, the French consort of the Florentine queen. The artist of this portrait was Giovanni Lionardo Henner, son of a lieutenant of the German guards, Giuseppe, and pupil of Giovanni Bilivert. The sitter is therefore Maria, the daughter of Francesco I, Grand Duke of Tuscany, and of Joanna of Austria; following the premature death of her parents, she was reared in a complex and sophisticated cultural milieu, where she learnt the rudiments of painting, sculpture and engraving in a fully Mannerist climate. In 1600, she married Henry IV of Bourbon, King of France, by proxy in Florence; she was crowned queen in 1610, just before the attack in which her husband was tragically assassinated. The queen is portrayed here in a precious gown of blue silk velvet, studded with golden lilies (the emblem of Florence) embroidered in relief, and she is embellished with over three hundred large pearls and numerous table-cut diamonds which were part of her extraordinary jewellery collection.

3.18 自畫像

賈斯特斯?沙特曼斯（安特衛(wèi)普，1597～佛羅倫薩，1681）約1650～1660年布面油畫烏菲齊博物館藏

JUSTUS SUTTERMANS (ANTWERP 1597 - FLORENCE 1681) Self-portrait c. 1650 - 1660 Oil on canvas Uffizi Gallery

賈斯特斯?沙特曼斯是佛蘭德血統(tǒng)。1621年，沙特曼斯來到佛羅倫薩為科西莫二世效力，成為梅迪奇宮廷的畫家和御用肖像畫家。沙特曼斯共服務(wù)過三代或以上的梅迪奇君主。在沙特曼斯的成熟期，畫作呈現(xiàn)出巴洛克風(fēng)格。這是因為他與魯本斯 (Rubens) 交往后以及1637年結(jié)識彼得羅?達(dá)?科爾托納 (Pietro da Cortona)（在梅迪奇家族的碧提宮中工作）后，他接觸了委拉斯開茲(Velázquez) 和巴西齊奧 (Baciccio) 的作品。該自畫像于1704年被轉(zhuǎn)移到烏菲齊博物館，并于1675年記入紅衣主教萊奧波爾多?德?梅迪奇的肖像畫系列。他似乎在50歲左右創(chuàng)作了這幅自畫像。在凡?戴克 (Van Dyck) 于1620年后不久為其畫的肖像畫中，沙特曼斯看起來要年輕很多，兩幅畫的比較結(jié)果支持了上面的猜測。該自畫像的黑色鍍金邊框是原件。

Flemish by origin, Justus Suttermans arrived in Florence in the court of Cosimo II in 1621, in the entourage of Pietro Fevère and other tapestry-makers summoned to the service of the grand duke. From this moment on, he became the painter and official portraitist of the Medici court, successfully merging the courtly demands of the sovereigns with a fine naturalistic rendering. He retained the position until his death, serving the Medici for no less than three generations. In his maturity, Suttermans’ paintings assumed a broader Baroque flavour, inspired by contact with the works of Velázquez and Baciccio, by his friendship with Rubens and also by his encounter in 1637 with Pietro da Cortona who was working in the Palazzo Pitti for the Medici. This self-portrait, which was transferred to the Uffizi in 1704, is documented in 1675 as part of the collection of Cardinal Leopoldo de’ Medici. The dating is hypothetical, based on the apparent age of the artist, who appears to have portrayed himself here at around the age of fifty; this conjecture is supported by comparison with the portrait of Justus executed by Van Dyck shortly after 1620, in which the artist appears considerably younger. The black, gilded frame is the original.

3.24 自畫像

卡羅勒斯?杜蘭（查爾斯?埃米爾?奧古斯特?杜蘭德）（里爾，1837～巴黎，1917）署名并注明1869年布面油畫烏菲齊博物館藏

CAROLUS DURAN (CHARLES éMILE AUGUSTE DURAND) (LILLE 1837 - PARIS 1917) Self-portrait Signed and dated 1869 Oil on canvas Uffizi Gallery

烏菲齊博物館管理層在 1887 年首次邀請卡羅勒斯?杜蘭繪制一幅自畫像，但直到 1913 年畫像才姍姍來遲。同多年前許諾的一樣，卡羅勒斯?杜蘭送來了一幅他年輕時代的自畫像：畫面中他以經(jīng)典的姿勢拿著畫筆和畫板。然而，這幅畫中最引人注目的是畫家的眼神，充滿了自信；通過明暗對比效果，充分表現(xiàn)了畫家在肖像畫和其他作品中的表現(xiàn)力。卡羅勒斯?杜蘭是法國上流社會中著名的肖像畫家，他認(rèn)為“繪畫不是模仿藝術(shù)，而是解讀的藝術(shù)。繪畫所要表達(dá)的，是你對事物的感覺，而非事物本身。”作家埃米爾?左拉 (émile Zola) 認(rèn)為卡羅勒斯?杜蘭師承愛德華?馬奈（édouard Manet），因為他作品中充盈著各種有趣、但卻極富現(xiàn)代性的細(xì)節(jié)。

The self-portrait of Carolus-Duran was requested by the management of the Uffizi for the first time in 1887, but only arrived in the Gallery in 1913. As promised many years before, Carolus-Duran however submitted a youthful portrait, where the artist shows himself in the classic pose with palette and brushes. What is most striking here, however, is the self-confident intensity of the gaze of the artist, renowned for the expressive power of his portraits and a painting of marked chiaroscuro effects. Carolus-Duran, the darling celebrated portraitist of Parisian high society, himself declared that ?Painting is not an art of imitation, it is an art of interpretation. It is what you feel about something that you must show, not the exact thing itself?. The writer, émile Zola, designated Carolus-Duran as the heir to édouard Manet because of the details, almost anecdotal, yet impregnated with vital modernity, that populate his paintings.

3.29 自畫像

塞爾吉奧?特魯希略?麥格耐特（卡爾達(dá)斯，1911～1999）署名并注明1960年 布面油畫烏菲齊博物館藏

SERGIO TRUJILLO MAGNENAT (MANZANARES, CALDAS 1911 - 1999) Self-portrait Signed and dated 1960 Oil on canvas Uffizi Gallery

麥格耐特對現(xiàn)代哥倫比亞繪畫的發(fā)展做出了很多貢獻(xiàn)。伴隨著歐洲和美國運動，從二十世紀(jì)三十年代開始，他受到了構(gòu)成主義風(fēng)格影響，不斷嘗試既古典而又引起強烈共鳴的創(chuàng)作風(fēng)格。他首先將這種風(fēng)格在書籍和雜志所制作海報和插畫中試用。麥格耐特是一個多方面的藝術(shù)家，不僅從事繪畫，在雕塑、插畫、設(shè)計、陶藝，甚至是壁畫方面均有涉獵。他糅合了二十世紀(jì)三十年代的古典主義，與哥倫比亞文化的古老而傳統(tǒng)的形象傳統(tǒng)，以一種婉婉道來的方式，講述了這個國家、特別是原住民文化的歷史（其中一幅壁畫位于波哥大大學(xué)）。這幅捐贈給烏菲齊博物館的作品，帶有強烈的現(xiàn)實主義風(fēng)格和心理深度，表現(xiàn)了畫家在肖像體裁上純熟的技巧。

Magnenat made a major contribution to the development of modern Colombian painting. In line with the European and American movements, from the 1930s, he practised a painting of classical and monumental echoes, partly influenced by the Constructivist style, but tempered by a decorative elegance. This was a style that he experimented with, above all, in the graphics he produced for posters and illustrations for books and magazines. Magnenat was in fact a multi-faceted artist, who engaged not only in painting, but also in sculpture, illustration, design, pottery and, finally, even mural painting. This is a technique of a distinctly Latin American tradition, frequently of a celebratory or historic stamp, in which Magnenat brought together the classicism of the 1930s with the retrieval of the more ancient and traditional figurative tradition of Colombian culture, to recount in a deliberately didactic manner, the history of the country and above all, the indigenous culture (one of the murals is at the University of Bogotà). The work donated to the Uffizi, of great realism and psychological depth, reveals the artist’s skill also in the genre of the portrait.