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JOURNAL of the FRIENDS of the UFFIZI GALLERY No Free publication on www.friendsoftheuffizigallery.org Polistampa - Firenze JOURNAL OF THE FRIENDS OF THE UFFIZI GALLERY No. 71 - April 2018 Halls like magic hallows A new setting for Medicean collection of armor; nocturnal scenes and the other their works. Splendid portraits Caravaggio and and surrounding them are a with no less spectacular works of the Medici, surrounded by handful of works related to the by Rubens e Rembrandt. Visi- their highly refined court of masterpieces of the theme of monsters, including tors can not only admire mar- Florentine painters, and the Seicento on the first floor the splendid Armida by Cecco vels of international art like naturalistic painting of North- of the Gallery Bravo, a donation of the Friends Rembrandt’s Rabbi or Rubens’ ern Italy that inspired Caravag- of the Uffizi Galleries from the Isabella Brandt (a seventeenth gio, serve as commentary and counterpoint in the halls adja- aravaggio merited a place… cent the piazzale of the Uffizi Ca Caravaggesque one. Per- now minus the glass cases and haps the scholarship and the ex- more spacious due to a differ- hibitions dedicated to the artist ent positioning of the works on over the last century, that have panels that are also crimson red given us a deeper understand- and almost as large as the walls ing of the spirit and nature of themselves. this furious and genial artist One leaves these rooms along with that of his pa- looking at a Portrait of Gali- trons, are the reason we leo, not only because it is could no longer leave one of Giusto Suttermans’ three of his most famous (the “foreigner” that the masterpieces in the exit Medici wanted as their corridor of the Uffizi, il- official portrait painter) luminated by miserable most beautiful paint- neon lights against yel- ings, but because the sit- low acrylic walls. On the ter brings to mind an other hand, in expand- epoch of scientific revo- ing the Gallery, the con- lution paid at a high version of the rooms on price, of sacrifice and the first floor designed as struggle for research, of offices and archives to mu- dogmatic upheaval. We seum exhibition spaces worthy hope that with the constant of the works occupying them sympathetic support of the has always proven a challenge. Amici degli Uffizi the same can The choice made was therefore apply to the more pleasurable to turn those very spaces into and exquisite aspects of our magic hollows, red in color like culture, precisely the figurative the fabric that lined the walls of arts. And let’s hope that the the seventeenth century palaces new halls of the Seicento are at Michelangelo Merisi da Caravaggio, where those very paintings once once an occasion to enjoy the The Head of Medusa (1596-1597 ca.), oil on canvas applied to a poplar wood shield. hung, studying and comparing Gallery of Statues and Paintings, Uffizi Galleries. beauty of the painting of that the color and texture of the plas- period and to reflect upon the ter with the tints and consistency generosity of enlightened pa- of the brocades of the epoch. We collection of one of the first and century “Mona Lisa”), but by trons (the Medici in the past then added a ‘narrative’ beyond foremost connoisseurs of the Flo- visual and mental association and those of the present textbook descriptions that at- rentine Seicento, Luigi Baldacci. contextualize them within the among whom the Amici degli tempts to explain the history of The same criteria under- cosmopolitan patronage of Uffizi and the Friends of the the collection: thus the Medusa lie the layout of the chamber the Medici who acquired art Uffizi Galleries notably distin- is flanked by a military shield on centered around the Bacchus, throughout all of Europe per- guish themselves). loan from the Bargello because and of the next two chambers, mitting artists to constantly en- both were part of the famous one with artificially illuminated counter one and other through Eike D. Schmidt IL GIORNALE degli UFFIZI 1 Light and Color Studies and methods methodology of the reorganiza- for essential museographical tion and the governance of the Gallery’s visiting public as well reorganization and the as the infrastructural modifica- creation of new, more tions and technical and func- efficient visitor itineraries tional updates. In the first case, following research and statistics on the etween Reality and Magic; Ca- flux of visitors to the Gallery Bravaggio and Artemisia; Cara- undertaken during investiga- vaggio, The Medusa; Caravaggio, tions on the possibility of intro- The Bacchus; By Candlelight; Rem- ducing alternative itineraries, brandt and Rubens; Galileo and the decision was made to move the Medici; Florentine Epic: these the works of major public at- are the titles of the recently re- traction on view in the continu- opened rooms dedicated to the ous succession of rooms over- Seicento, a renovation made looking the courtyard of the possible by the generous finan- Uffizi on the first floor of the cial support of the Amici degli Gallery (the piano nobile) to the Uffizi and the Friends of the adjacent interior chambers, Artemisia Gentileschi, Judith Beheading Holofernes (1620), Gallery of Statues and Uffizi Galleries. The project is more or less following the same Paintings, Uffizi Galleries. both significant and emblem- solution adopted on the up- atic of the new conceptions per floor in the historic gallery Applying the same criteria tion has been underway up introduced by the directorship where the exhibition rooms to both the east wing of the to the present) and the west of Eike Schmidt in terms of the flank an external corridor. piano nobile (where construc- wing (where work will shortly begin), the rooms in succes- sion once free from an exces- sive number of art works can better foster a more fluid and continuous presence and pas- sage of visitors. As can be seen in the recent renovation, these rooms do not however become mere passageways for the se- ries of doors leading towards the exit; instead, their more spacious, wider sections define and circumscribe a museo- graphical space configured and perceived as such with the panels on all three walls (and no longer on only one as was formerly the case in the west wing – 2011). Well aware of the value and role played by effective and cor- rect illumination, updates in technical engineering could not ignore the notable progress made in the field of lighting with led technology. Thanks to the explicit financial support of At the end of the room, the famous Bacchus (1597-1598) by Michelangelo Merisi da Caravaggio, Gallery of Statues and Paintings, Uffizi Galleries. 2 IL GIORNALE degli UFFIZI At the end of the room, the Portrait of the Old Rabbi (1665) by Rembrandt. Below, the room entitled “Between Reality and Magic”, Gallery of Statues and Paintings, Uffizi Galleries. the Amici degli Uffizi and the One of the more evident in- took into due consideration the ed on the walls with simple hang- Friends of the Uffizi Galleries, novations is the introduction of conservation and preservation of ing devices. The best demonstra- the obsolete illumination of the color; the walls of the rooms on the traditional image of the tion of the effectiveness of the past was replaced by a system the interior and the mobile pan- building itself. Thus, the walls of color chosen can be seen in the of direct light (very versatile els applied to the walls in the the rooms on the interior of the portrait of Leopoldo as a Child by for optic variety and for diverse rooms of Vasari’s design, have building in spaces that do not Giusto Suttermans (the room of chromatic tonalities) and a del- been painted - up to the white have a precise qualification with- Galileo and the Medici), where the icate illumination of the vault- vaulted ceilings - a novel cinnabar in the architectural history of the curtain behind the shoulders of ed ceilings. Dutiful consider- red of mineral origin (a synthetic monument are covered with the young prince seems to fuse ation was also given to natural preparation with binders and completely reversible pigments with the color of the panel be- daylight: the two types of win- natural quicklime), a splendid while, in the rooms pertaining to hind the painting. dows, those at terrace level and and transparent color by nature Vasari’s complex, the color was the higher lunettes, have been and very different from the deep applied to mobile panels mount- Antonio Godoli adequately screened but not crimson previously adopted in closed, keeping in mind the ef- the Uffizi of organic origin deriv- fects of solar light but also the ing from cochineal. The choice opportunity of not depriving to give a chromatic distinctive- the public of stupendous views. ness to the rooms designed for The construction and place- paintings from the Seicento is the ment of seats in the form of fruit of lengthy considerations benches made of oak planks set and careful evaluations of pre- within the splays of the windows liminary color testing. As expect- - the latter now without curtains ed, consultations on the use of finally visible as part of the ar- color in this area of the Gallery chitecture - offers the necessary were undertaken with Andrea respite along the visitor’s path Pessina, Superintendent of Ar- and, in less crowded moments, chitectural Patrimony and the affords the possibility of observ- need to coordinate the museum ing the works in repose. space with the works on display IL GIORNALE degli UFFIZI 3 Anatomy of a Collection History and prestige of the Contini Bonacossi collection of masterworks in the new exposition space within the halls of the permanent collection of the Uffizi Gallery he history of the collection Tof Alessandro and Vittoria Contini Bonacossi began in 1898 when they were living in Spain.
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