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SCOPRI/Discover in TOSCANA/IN Tuscany SCOPRI/DISCOveR (dettaglio/detail), 1528-1529 circa, Carmignano, Pieve di San Michele Arcangelo Michele di San Pieve Carmignano, circa, 1528-1529 (dettaglio/detail), The Visitation The / Visitazione , IN TOSCANA/IN TuSCANy Pontormo In occasione della mostra Pontormo e Rosso Fiorentino. The Pontormo and Rosso Fiorentino. Diverging Paths of Mannerism Divergenti vie della “maniera”, allestita a Palazzo Strozzi a Firenze exhibition in Palazzo Strozzi, Florence, from 8 March to 20 July (8 marzo-20 luglio 2014), la Toscana celebra e scopre i due 2014 celebrates two of Tuscany’s most outstanding and most straordinari artisti. “Gemelli diversi”, nati nello stesso anno, 1494, original artists. These two “fraternal twins” were born fairly close in luoghi non lontani: Jacopo Carrucci a Pontorme, borgo presso to one another and in same year, 1494. Jacopo Carrucci was Empoli da cui trarrà il soprannome; Giovan Battista di Jacopo born in Pontorme, a village outside Empoli that was to give him his – che sarà detto Rosso Fiorentino, forse per il colore dei capelli – nickname, while Giovan Battista di Jacopo (who was to become all’ombra del Cupolone brunelleschiano. Pur prendendo le mosse known as Rosso Fiorentino possibly on account of his red hair) dallo stesso ambiente espressivo, i due pittori si distanziano l’uno was born in the shadow of Brunelleschi’s dome. Though training dall’altro, diventando punto di riferimento di committenze anche in the same artistic environment the two painters gradually moved politicamente opposte, e preferendo vie espressive sperimentali, apart, eventually even enjoying the patronage of political adversaries ma divergenti, nella Firenze e nell’Europa della prima metà del and opting for experimental, yet divergent, modes of expression in Cinquecento. Florence and Europe in the first half of the 16th century. Per le informazioni dettagliate su tutti i luoghi For detailed information on all of the sites, please consult www.palazzostrozzi.org/pontormoerosso-intoscana www.palazzostrozzi.org/pontormoerosso-intuscany Con il contributo di/With the contribution of 13 22 14 12 8 20 9 11 21 10 17 19 18 1 7 2 3 24 5 25 27 6 15 26 16 Per gentile concessione/Courtesy of Agenzia per il Turismo con Provincia di Firenze www.firenzeturismo.it 1/18 PALAZZO STROZZI 3 PALAZZO VECCHIO Piazza Strozzi Tracce di Firenze – Palazzo Vecchio racconta la città Pontormo e Rosso Fiorentino. Divergenti vie della “maniera” Traces of Florence – Palazzo Vecchio tells Pontormo and Rosso Fiorentino. Diverging Paths of Mannerism the story of the city 8 marzo/March-20 luglio/July 2014 Piazza della Signoria - tel. + 39 055 2768224/2768558 a cura di/curated by Carlo Falciani e Antonio Natali aperto: tutti i giorni inclusi i festivi 9.00-20.00, giovedì 9.00-23.00 aperto: 1 ottobre-31 marzo Accesso consentito fino a un’ora prima dell’orario di chiusura tutti i giorni escluso il giovedì 9.00-19.00 Open: Daily holidays included 9.00-20.00, Thursday 9.00-23.00 giovedì 9.00-14.00 (salvo aperture straordinarie) Visitors admitted until one hour before closing time chiuso: 25 dicembre, 1 aprile-30 settembre Prenotazioni/reservations tel. +39 055 2469600 Tutti i giorni escluso il giovedì: 9.00-24.00 giovedì: 9.00-14.00 [email protected] Open: 1 October-31 March PONTORMO E ROSSO FIORENTINO Daily except Thursday 9.00–19.00 Thursday 9.00–14.00 Il Pontormo e il Rosso Fiorentino sono nati entrambi nel 1494, al (opening hours may vary on special occasions) chiudersi di un secolo che aveva visto rompersi un equilibrio politico Closed: 25 December, 1 April-30 September, che aveva garantito prosperità e sicurezza, e aprirsi una travagliata Daily except Thursday 9.00-24.00 Thursday: 9.00-14.00 età di scontri religiosi e politici che portarono a un mutamento definitivo degli equilibri fra gli stati, ma anche all’infrangersi di PONTORMO quella armonia ed equilibrio delle arti che avevano caratterizzato il In Palazzo Vecchio sono conservati, ma non esposti, i Pannelli del passaggio dal Quattro al Cinquecento. Carro della Moneta che, secondo le citazioni del Vasari, il Pontormo L’ampio e articolato percorso della mostra riunirà i capolavori dei dipinse «per i maestri della Zecca». Il carro fu portato in processione due sommi artisti, privilegiando lo splendore formale e l’altissima per la festa di san Giovanni Battista fino al 1810, anno in cui poesia del Pontormo e del Rosso, tale da renderla leggibile e chiara, venne smembrato; nella sua forma originaria era stato costruito da non solo agli specialisti ma anche al grande pubblico, attraverso Marco del Tasso, ma subì ampliamenti e sostituzioni nel Seicento sezioni tematiche disposte in ordine cronologico. e Settecento a motivo dell’uso frequente e dell’esposizione alle intemperie. Alcune tavolette con Putti che giocano, quelle con i Pontormo and Rosso Fiorentino were both born in 1494, towards Santi Zanobi, Giovanni Evangelista, Giovanni Battista, Matteo the close of a century that marked the end of a political balance e le due con il Battesimo e la Visitazione, nonostante le pesanti which had brought prosperity and security both to Florence and ridipinture che ne alterano l’originario valore pittorico, denotano la to Italy as a whole, and the start of a troubled time of religious and sottile sensibilità pontormesca. political clashes which was to lead to a permanent change in the balance of power, as well as to a shattering of the harmony and Palazzo Vecchio houses (though not on public display) the Panels balance in the arts that had marked the transition from the 15th to of the Carro della Moneta, or Coin Wagon, which Vasari tells us the 16th century. This comprehensive, multifaceted exhibition will Pontormo painted “for the masters of the Mint”. The wagon was be displaying the two great artists’ masterpieces, illustrating the used in the procession for the feast of St. John the Baptist until formal splendour and lofty poetry of Pontormo and Rosso in such 1810, when it was dismantled. In its original form it was built a way that their work can be understood and appreciated not only by Marco del Tasso, but it was extended and certain parts were by experts but also by a far broader audience thanks to a series of replaced throughout the 17th and 18th centuries due to frequent thematic sections set out in chronological order. use and exposure to the weather. Despite the heavy repainting that has altered their painterly value, some of the panels with Putti Playing, those with St. Zenobius, St. John the Evangelist, St. John 2 ACCADEMIA DELLE ARTI DEL DISEGNO the Baptist and St. Matthew and the two depicting the Baptism and Via Orsanmichele 4 - tel. +39 055 219642 - www.aadfi.it the Visitation bear the unmistakeable mark of Pontormo’s subtle artistic sensitivity. PONTORMO L’Accademia attuale trae la sua origine dalla più antica Accademia e Compagnia dell’Arte del Disegno istituita da Cosimo I de’ Medici il 13 gennaio 1563, su suggerimento di Giorgio Vasari. Nella sede sono esposti il Tabernacolo di Boldrone (Crocifisso con la Madonna e san Giovanni, san Giuliano e sant’Agostino) grande affresco staccato del Pontormo del 1524-1525 circa, una copia di una Madonna col Bambino del Pontormo e la serie dei ritratti dei luogotenenti dell’Accademia. Today’s Accademia springs from the older Accademia e Compagnia dell’Arte del Disegno which Cosimo I de’ Medici established, following the advice of Giorgio Vasari, on 13 January 1563. The Accademia houses the Boldrone Tabernacle (Crucifixion with the Virgin and St. John, St. Julian and St. Augustine), a large detached fresco painted by Pontormo c. 1524–5, a copy of a Madonna and Child by Pontormo and a series of portraits of the Accademia’s “lieutenants” or rectors. fece cadere la pergola sulla testa del religioso. Il frate si rivolse allora alla magistratura degli Otto querelando il bertuccione, che fu condannato a portare un contrappeso «al culo, acciò che 4/23 GALLERIA DEGLI UFFIZI/UFFIZI GALLERY non potesse saltare come prima soleva […]. Così il Rosso fatto Piazzale degli Uffizi - tel. +39 23885; prenotazioni Firenze Musei un rullo che girava con un ferro, quello gli teneva, acciò che per +39 055 294883 - www.polomuseale.firenze.it/musei casa potesse andare, ma non saltare per le altrui». L’animale, che sembrava aver capito di chi fosse la colpa della spiacevole aperto: martedì-domenica 8.15-18.50 situazione in cui si trovava, si esercitò a camminare tenendo il chiuso: tutti i lunedì, 1° gennaio, 25 dicembre contrappeso in mano e un giorno, saltando di tetto in tetto, giunse Open: Tuesday–Sunday 8.15–18.50 su quello della camera del guardiano e ne ruppe tutte le tegole. Sia Closed: Monday, 1 January, 25 December Batistino che il bertuccione di lì a breve accompagnarono il Rosso a Roma. PONTORMO Alcune opere del Pontormo conservate alla Galleria degli Uffizi Vasari tells us that Rosso lived in Borgo dei Tintori, in a house saranno esposte alla mostra allestita a Palazzo Strozzi: la Madonna overlooking the gardens of the friars of Santa Croce. The painter col Bambino e san Giovannino (1527-1528); il Ritratto di Cosimo il owned a “great ape, which had the intelligence rather of a man Vecchio (1518-1519); la Cena in Emmaus (1525). Resteranno agli than of a beast.” An assistant, one Batistino, used to let the ape Uffizi il Sant’Antonio abate (1519-1525 circa), il Ritratto di giovane down on a rope to the convent guardian’s pergola to steal his juicy con libro di musica (1515-1520 circa), la Cacciata di Adamo ed Sancolombane grapes. One day, seeing Rosso’s ape descending, Eva dal Paradiso terrestre (1518-1522), il Ritratto di Maria Salviati the guardian seized a long pole to beat him, but the ape brought the e il desco da parto con la Nascita di san Giovanni Battista, databile pergola down on the guardian’s head, so the guardian went to the intorno al 1526.
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