第一部分 風景畫

對于風景的描繪，最初僅限于用作表現(xiàn)宗教或世俗場景的背景。自十六世紀末開始，風景逐漸受到重視，直到經(jīng)歷了漫長的十七世紀，它才成為一個固定的繪畫品種。那時，最富詩意、令人陶醉的地中海自然風光對外國藝術(shù)家的吸引甚至超過了意大利風景和宏偉壯觀的古羅馬遺跡。正是這些來自荷蘭、佛蘭德、法國、德國的藝術(shù)家們通過探究自然之奧秘，在真實生活中研究一天中不同時間光線的變化，率先以現(xiàn)代的藝術(shù)語言來描繪那些充斥圣經(jīng)和神話人物的風景。當時在佛羅倫薩，許多梅迪奇家族成員熱衷于收藏風景畫來豐富他們的藏品。他們的收藏范圍相當廣泛：從十七世紀早期精細的森林、山嶺和湖泊的寫實作品，到對大自然夸張粗獷的描繪，再到十八世紀那些講究透視、空間與層次的畫作，均在其收藏之列。

LANDSCAPES

Initially confined to the background of scenes both sacred and profane, from the end of the 16th century the representation of landscape began to claim consistently more significant space until, in the course of the 17th century, it became consolidated as a pictorial genre in its own right. The most poetic and evocative aspects of the Mediterranean natural landscape captivated above all the foreign artists - Dutch, Flemings, French and German - attracted by the Italian panoramas and by the monumental vestiges of ancient Rome. They were the first to translate into modern language the landscapes populated by Biblical and mythological figures, penetrating the secrets of nature and studying from real life the shifting of the light at the different times of the day.

In Florence many members of the Medici family collected landscapes to enhance their collections: these ranged from the meticulous and realistic depictions of woods, hills and lakes of the early 17th century, to the interpretation of nature in magnified, imperious and wild forms, through to the perspective views and the ranging and airy visions of the 18th-century views.

第二部分 靜物畫

自十六世紀末至十七世紀初，一種新的繪畫類型在意大利和歐洲藝術(shù)界開始流行，那些本不起眼的物品現(xiàn)在成了描繪對象。實際上，在此之前，為了滿足古典神話或基督教圣經(jīng)故事插圖的基本需求而描繪一些物品或果實的做法曾經(jīng)一度風靡。人們對大自然的好奇，在當時提倡以新的方式探究真實世界的文化背景下，推動了靜物畫的成熟。十七世紀末至十八世紀初，靜物畫在佛羅倫薩地區(qū)的流行達到頂峰。梅迪奇家族的成員熱衷于收藏這類描繪花卉、食物以及其它任何能夠抓住他們眼球的物品的繪畫，其中尤以科西莫三世大公（1642～1723）和費爾迪南多王子（1663～1713）為甚。正因如此，今天的烏菲齊博物館才得以自豪地擁有這些無與倫比的靜物杰作。

STILL LIFE

Between the end of the 16th century and the early decades of the 17th, a new genre began to spread through Italian and European art: paintings dealing with subjects that up to then had not been deemed worthy of being illustrated on their own account. Prior to this, in fact, the portrayal of objects and of the fruits of nature had been spasmodic and essentially functional to the narrative demands of the story being illustrated, whether this was derived from classical mythology or inspired by the sacred texts of the Christian tradition. Curiosity about the natural world, influenced by a culture which in these decades was developing a new approach to reality, contributed to the success of this genre of painting, which in Florence enjoyed its greatest popularity between the end of the 17th century and the dawn of the 18th. The enthusiasm with which the members of the Medici family - foremost among them the Grand Duke Cosimo III (1642-1723) and Prince Ferdinando (1663-1713) - collected paintings of flowers, food and anything else that grasped their interest, explains why the Uffizi Gallery now boasts some of the most consummate masterpieces of the still life genre.

第三部分 肖像畫

十五世紀，肖像畫逐漸成為西方藝術(shù)中一種流行的繪畫品種。這些肖像畫流傳后世的不僅是畫中人物的模樣，還有他們的身份和地位。最初，只有像君主、高級神職人員以及政治家這些杰出人士才有權(quán)力要求為其繪制肖像畫，之后這一特權(quán)向更廣泛的社會階層擴展，盡管仍然只限于那些富裕的上流社會人士。十六世紀，人物姿勢和畫像尺寸變得更加多樣化，而在上層社會，則產(chǎn)生了一種固定的模式，被稱為“正式肖像”，即畫面上的人物是真人大小的四分之三或是同真人一樣大小。肖像畫之所以有很高的知名度，對觀賞者也極具吸引力，是因為人們希望通過圖像，不但可以識別畫中人物的體貌特征，也能夠透視其心理特質(zhì)。盡管如此，像梅迪奇家族這樣的著名藏家，甚至還收藏有大量無名氏或是已被遺忘之人的肖像畫，而這些畫的價值高低往往取決于畫家本身的名氣大小。

PORTRAITS

The portrait became established as an artistic genre in western art during the 15th century, entrusted with the task of handing down not only the image but also the status and dignity of the sitters. Initially the prerogative of illustrious figures, such as sovereigns, high-ranking members of the clergy and statesmen, over the course of the century the practice of having one’s portrait painted spread to a broader social bracket, albeit still confined to the affluent social elite. The 16th century witnessed a diversification of the poses of the sitters and the size of the paintings, and in loftier circles the practice of the ‘official portrait’ – in which the figure is shown from a three-quarter view or life size – became consolidated. The popularity of the portrait, and the fascination that it has always exerted on observers, springs from the desire to recognize through the image not only the physical features of the figures, but also their psychological traits. Despite this, great collectors such as the Medici amassed portraits even of people whose identities were unknown or forgotten, and the value of these paintings tended to reside in the fame of the artists to whom they were attributed.

自畫像

最早的自畫像出現(xiàn)于十四世紀，當時的畫家把自己和他們的主顧一同畫入宗教題材的場景之中。烏菲齊博物館擁有迄今為止最古老、最為豐富的自畫像藏品，其基礎(chǔ)是紅衣主教萊奧波多?梅迪奇（1617～1675）所收藏的80件藝術(shù)珍品，其中最初收藏的15件杰作已列入梅迪奇家族遺產(chǎn)之中。有一些藏品是由科西莫三世大公（1642～1723）在原有基礎(chǔ)上進一步擴充的，大都為外國藝術(shù)家的精品。這些畫作原來保存在彼提宮中，1687年被轉(zhuǎn)移到了烏菲齊博物館，并按尺寸大小分為兩類。到十七世紀末，烏菲齊的自畫像收藏遠遠多于歐洲的其他畫廊和博物館，入選烏菲齊博物館已成為畫家們夢寐以求的目標。作為梅迪奇大公繼承者的洛林的彼得?利奧波德（1744～1792）將此類藝術(shù)品的收藏增加到了330件。到二十世紀八十年代，隨著藝術(shù)品收藏熱潮的興起，230多位藝術(shù)家的畫作入藏烏菲齊博物館。如今，烏菲齊自畫像收藏品的總數(shù)已達1650件之多。

SELF-PORTRAITS

The self-portrait made its debut in the course of the 14th century, in the first paintings where the artists portrayed themselves alongside the commissioners in scenes of sacred subject. The Uffizi Gallery possesses the oldest and by far the most extensive collection of this genre of painting. The collection now in the Uffizi was begun by Cardinal Leopoldo de’ Medici (1617-1675) who, starting with the fifteen exemplars already comprised in the Medici heritage, gathered an initial nucleus of eighty works. The collection was then further enlarged by the Grand Duke Cosimo III (1642-1723), focusing in particular on works by foreign artists, and in 1687 he transferred it from the Pitti Palace (where it was conserved at the time) to the Uffizi, standardizing the dimensions of the works to two classic formats. By the end of the century the collection was already unparalleled in Europe and admission had become a coveted goal for the painters. Under Peter Leopold of Lorraine (1747-1792), the enlightened successor to the Medici Grand Dukes, the collection came to number over 330 works. The uninterrupted campaign of acquisitions was renewed with vigor in the 1980s, when more than 230 artists entered the Uffizi. Today the collection numbers is almost one thousand six hundred and fifty works.