New staging for the Rooms of the Fifteenth Century

Giovedì, 24 Settembre 2015 on Giovedì, 24 Settembre 2015. Posted in Uffizi's News

Rooms 26, 27, 28 and 29

New staging for the Rooms of the Fifteenth Century
Preceded of a major plant improvement, the new construction of several halls of the Uffizi Gallery (from number 25 to number 32) dedicated to the second XV was possible thanks to the generous donation by the Salvatore Ferragamo SpA, signed the act signed May 12, 2014 in the presence of the then Superintendent, Cristina Acidini, the Director Antonio Natali and Ferruccio Ferragamo, Chairman of the eponymous group. The path begins in Room 25, with the works of the two protagonists in the Florentine painting of the second XV, Alesso Baldovinetti and Domenico Ghirlandaio. The round of the Adoration of the Magi executed by the latter for the Tornabuoni in 1487 stands where until a few months ago was the Doni Tondo by Michelangelo; for the workshop of Ghirlandaio passed through the rest of the young Buonarroti, although he will denigrated the magisterium. It emerges from deposits panel representing the Justice of Biagio d'Antonio, example of civic art whose emblems they remember the original membership of the Magistracy of Salt. Room 26 is made up almost entirely of works so far unjustly excluded dall'allestimento permanent, illustrating the important and ancient tradition of Florentine painting workshops. It is named after Cosimo Rosselli, the student of Blacks of Bicci exponent of the most conservative and archaic Florentine painting of the late fifteenth century. Room 27 is dedicated to Pietro Perugino, Umbrian painter who contributed significantly to the development of Florentine painting of the late fifteenth century by staying longer in Florence, as testified, among other things, the three blades with Stories of Christ from the church of the monastery city of San Giusto of Ingesuati. With works by Perugino, are also exposed the St. Vincent Ferrer of Fiorenzo di Lorenzo, recently donated by the collector Alvaro Saieh Bendeck, and an interesting painting of the Martyrdom of St. Sebastian, attributed to Girolamo Genga, but which still expects a adequate critical examination. Room 28 now includes the works by Filippino Lippi, so far exhibited in the hall overlooking the east corridor along with those of his father Philip. It intends in this way enhance the creative originality and modernity of the Filipino language, which by the early works of Botticelli plant comes to confront the inventions of Leonardo, as to be called to perform the Adoration of the Magi for the church of San Donato a Scopeto to replace the incomplete Adoration of Leonardo. Room 29 is dedicated to Lorenzo di Credi, which the canvas from the Medici villa of Cafaggiolo talks with the goddess Venus, in classical weighting of the naked body, with the torso of Doryphorus basanite green exhibited in Room 30. Rounding out the path the Halls 31 and 32 dedicated to Luca Signorelli, whose return on display, among other things, the two monumental round with the Holy Family, one of Medici commission and the other run for the Guelph, often recognized as important precedents for the Doni Tondo by Michelangelo.