JOURNAL of the FRIENDS of the UFFIZI GALLERY No

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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 succession 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 museographical 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.

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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. Their passion for Spanish art which would characterize the collection over time began then and brings to mind the sixty-two paintings shown at the exhibit organized by Longhi and Mey- er at Villa Giulia in 1930 that included the Saint Anthony by Zurbaran, the Saint Peter by El In the furniture room, at center, a two-piece XVII century Roman cupboard and a XVI century Florentine table. Contini Bonacossi Greco and the Matador by Goya, Collection, Uffizi Galleries. all today in the Uffizi. When they moved to Rome in 1909, the exponentially, above all in Milan made in Paris (with the Portrait in Florence where the Con- couple’s acquisitions increased and Rome. Purchases were also of Giuseppe da Porto with his Son by tini Bonacossi moved in 1931 Paolo Veronese), London and that the collection of old mas- America. At the auction of the ters found its ideal setting in Gustavo Frizzoni collection held rooms located on the first and in 1915, the Portrait of a Gentle- second floor of the Villa where man by Boltraffio, theSaint Fran- the walls were lined with fabric cis by Francia and the two panels (green in color like the mats by Zenale now in the Uffizi were inside the wooden cabinets dis- purchased among other works. playing the earliest paintings at Beginning in 1918, the Contini the Uffizi). Among the many Bonacossi engaged in a fruitful masterpieces, some early acqui- relationship with art historian sitions were qualifying works Roberto Longhi. At the time, within the collection from favorable conditions on the in- which they would be separated ternational market coinciding only after 1969 at the time of with the dispersal of great collec- the descendants’ donation to tions fostered a profitable and the Florentine museum: the reciprocal exchange between small panel paintings by Paolo academic research and commer- Veneziano, the polyptych by cial antiquarian interests. Agnolo Gaddi, the grand panel From 1920 Contini found painting by Giovanni del Bion- an adequate exposition space do (all in house by 1925), the for the sale of his masterworks paintings by Defendente Fer- at his new residence in Via No- rari and by Giovanni di Franco mentana in Rome. But it was at depicting the Madonna with the Villa Vittoria in Valfonda Child (entering the collection respectively in ’30 and in ’34), the Magdalene by Savoldo (purchased in ’32), the Madonna Defendente Ferrari, Madonna Lactans of the Snow by Sassetta, the (1505- 1511). Contini Bonacossi Pazzi Madonna by Andrea del Collection, Uffizi Galleries. Castagno (acquired in ’36),

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Dusk from the New Sacristy in the Florentine Basilica dedicated The Tale of Torment to the same Saint Lawrence. Who knows if the young sculptor’s reference to one of the most superb and emblematic creations he new exposition of the Contini Bonacossi donation, a very of Buonarroti within the temple of the Medici is not a clue to a Timportant collection of Italian and Spanish art works dating Florentine provenance of the Contini San Lorenzo now in the Uffizi from the 1200s to the 1700s now on view for all in the halls of the with perhaps even a nod towards the possible patrons. Uffizi’s normal visitors’ itinerary, finds its culmination in a youthful Eike D. Schmidt creation (dating to 1610-1615) of the great sculptor Gianlorenzo Bernini, The Martyrdom of Saint Lawrence. This Baroque masterpiece Gianlorenzo Bernini, of the highest quality recounts the story of the Saint’s torment by The Martyrdom of Saint Lawrence (1610-1615). Contini Bonacossi Collection, Uffizi Galleries. giving equal emphasis within the rest of the composition to the burning coals and the grate on which the Saint lies. One can imagine how Bernini himself conceived the sculpture, probably intended for the altar of a small chapel where the rosy light of the flickering candles would have reflected on the hot coals of marble making them seem actually aflame. The chapel may have also had a window that let the light of day fall from above directly on the visage of the martyr represented at the mo- ment of his greatest suffering as he turns to God and finds comfort and supreme beatitude, as is the case for the later Beata Ludovica Albertoni and the Ecstasy of Saint Theresa. In this skillful orchestration of special effects, pure theater in the service of Catholic devotion, Bernini gives homage to Michelangelo echoing the reclining pose of the Dawn and the

tues, the furnishings with an accessibility that few museums can boast: perfect lighting, perfect spacing, perfect choice of wall colors, beautiful frames with an authentic, unmistak- able accent of scrupulous and softened solemnity”. It was in Villa Vittoria that their activity as collectors reached its pin- nacle. It was instead in Palazzo Capponi, where the heirs trans- ferred the collection in 1965, that a committee of critics and scholars (including Longhi, Fiocco, Castelfranco, Salmi, Procacci, Bargellini) selected the works of the gallery “worthy of entering the Uffizi collections” according to ministerial directives. So it was that gilded masterworks, the schools of In the center, a detached fresco depicting the Madonna Enthroned with the Christ Child and Saints (1445-1448 c.) by Andrea del Castagno. Lombardy and Spain (and not On the left Madonna of the Snow (1432 c.) by Stefano di Giovanni, called il Sassetta. Contini Bonacossi Collection, Uffizi Galleries. only), Bernini’s magnificent Saint Lawrence, the majolica and the altarpiece by Bramantino museum layouts of the period the Contini Bonacossi collec- the furnishings were first put on and the Scullery-maid by Crespi tending towards the recre- tion at Villa Vittoria consisted display in the Meridiana, then (purchased by ’48), along with ation of Renaissance style set- in the display of the master- in the halls on the second floor many others. Not to mention tings. Their house-museum pieces in a luxurious but wel- of the Uffizi along Via Lamber- the sculptures, the furnishings, interpreted these tendencies coming atmosphere, gemütlich, tesca and finally in their new- the majolica and the garlanded in a sober, less forceful man- in rooms perfectly in order found position within the halls heraldic shields in glazed ter- ner showing greater respect adorned with masses of flow- of the museum’s permanent racotta. for the dignity of the single ers … their merit was to have collection. The Villa’s furnishings works of art, as Federico Zeri successfully used the spaces to reflected the conventions of testified: “Perhaps the secret of present the paintings, the sta- Francesca de Luca

IL GIORNALE degli UFFIZI 5 “Spain and Italy, The “dibujo en España” Cultural Interplay in Renaissance Europe “ in the Cinquecento curators Marzia Faietti, Corinna T. Gallori, On exhibit in the Tommaso Mozzati Magliabechiana Hall, the fundamental role drawings Uffizi, played in relations between Aula Magliabechiana Spain and Italy in the XVI century Until May 27, 2018

foreign institutions includ- he exhibit offers a rich ing the Museo del Prado and Tselection of Spanish draw- the Museo Nacional de Escul- ings from the outstanding col- tura in Valladolid, who have lection of the Gabinetto dei granted extraordinary loans Disegni e delle Stampe (The such as the Deposition from the Uffizi Department of Prints Cross by Pedro Machuca and and Drawings), one of the the Ecce Homo by Alonso Ber- most significant corpus – for ruguete. number and quality of folios – The exposition intends to found beyond the borders of underscore once again the fun- the Iberian peninsula. damental role played by draw- In the wake of the exhibi- Alonso Berruguete, ing in exchanges between art- tion “The Signs of the Time. Madonna and Child with Saint John the Baptist ists from diverse nations by il- Dibujos españoles de los (Loeser Tondo, 1513-1514). Palazzo Vecchio, Loeser Collection. lustrating the multiple direc- Uffizi” – organized by Benito tions of this intricate weave of Navarrete in collaboration relations, thus contributing to with Roberto Alonso Moral Cinquecento, a century of is the grand building yard the construction of a global per- of the Real Academia de Bel- extremely fertile contacts be- of the Escorial where Italian spective through the emblem- las Artes de San Fernando in tween Spain and Italy that be- artists collaborated with local atic case of the dibujo en España Madrid in 2016 – the Floren- gins with the age of the Catho- masters until the final stages in the Cinquecento. tine exhibition focuses on the lic monarchs continuing into of the Cinquecento. The ef- the reign of Philip II. With the ficacy of similar comparisons Marzia Faietti, focus on a specific chronologi- has been made possible by Corinna T. Gallori, cal era in mind, the curators the generosity of Italian and Tommaso Mozzati have put masterpieces such as Alonso Berruguete’s Christ as Saviour or Blas de Prado’s Alle- gory of the Church into dialogue with related sculptures, paintings and volumes. In an innovative, elegant and functional layout, the exhibit effectively unearths the fruitful weave of contacts and relations established between Spanish and foreign artists through formative jour- neys and projects underway by important figures such as Berruguete, Bartolomé Or- Alonso Berruguete, Christ as Saviour dóñez and Gaspar Becerra (1526-1532 ca.). Uffizi Galleries, during the first half of the Blas de Prado, Philip III and his Empire (1587 ca.). Uffizi Galleries, Department of Prints Department of Prints and Drawings. century. Equally significant and Drawings.

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Homage to the Age of Enlightenment

An exhibit at Palazzo Pitti is dedicated to Canaletto and other famous eighteenth century masters, with a selection of view paintings and portraits from the deposits of the Uffizi

Giovanni Antonio Canal called il Canaletto (Venice 1697 – 1768), View of Palazzo Ducale Jean-Étienne Liotard (Ginevra 1702 – 1789), Presumed Portrait of Marie Adelaide of and the Piazzetta of San Marco, ca.1730. France dressed in Turkish Costume, 1753.

or the two hundred and for a showing of a limited se- haustible myth of tourism in Ita- premise of the selection, that is, Ffiftieth anniversary of the lection of paintings from the ly. But the fascination with travel the provenance of the works. death of Canaletto, two views Settecento in the Hall of the was satisfied, visa versa, in an ex- Chronological boundaries limit by the artist representing Pa- Niches in Palazzo Pitti, a total otic key in the fantasized visions the Medicean origins of the lazzo Ducale and San Marco and of seventeen works out of the of the Orient in two precocious eighteenth century collections the Canal Grande at the Rialto approximately five hundred ‘Turkish’ scenes painted in the to before the extinction of the Bridge – until a few years ago that make up the Galleries’ early years of the Settecento for dynasty in 1737: a restricted traditionally on view on the collection from this period. the last of the Medici; somewhat number of them, as in this case, second floor of Vasari’s com- The works were chosen for later, Jean-Étienne Liotard pro- can be counted among the true plex – could not be left in their secular themes related poses an image, presumably of masterpieces. The rest comes the museum deposits. It was one to the other by assonance Maria Adelaide of France, in from rare acquisitions on the in effect these two paintings and contrast in homage to the sultan’s garb deeply engaged in part of the Lorraine, while a that triggered the proposal lay spirit of the so-called Age reading. conspicuous number comes of Enlightenment. Surely portraits instead are from attentive acquisitions or Works based on re- Goya’s Countess of Chinchón, a generous donations, acknowl- ligious themes from virtuoso symphony of greys, edgements over time of the the same period will blues and dove-colors, a pre- Uffizi as an institution of refer- instead be the fo- lude to the Ottocento from ence in the name of shared cul- cus of an upcoming the turn of the century, and tural identity. exhibit. Alongside François-Xavier Fabre’s Vit- the Venetian views torio Alfieri and his muse, the Alessandra Griffo it seemed natu- Countess of Albany, a testimo- ral to flank similar ny to the intense sentimental postcard-like images bonds shared by the protago- th of Florence, Rome nists of the Florentine cultural “The 18 Century. and Naples, all abso- and international scene. lute musts along the A more contrastingly inti- routes of the Grand mate world tied to childhood A Selection” Tour, cities that still and play is offered by Jean-Bap- nurture the inex- tiste-Siméon Chardin’s two chil- curator Alessandra Griffo dren and by the familial micro- cosm in the lively scene by Giu- Hall of the Niches, seppe Maria Crespi. The latter, Francisco Goya Palazzo Pitti (Fuendetodos 1746 - a small work on copper, was sent Bordeaux 1828), as a Christmas gift to the Grand Countess of Chinchón, Prince Ferdinand in 1708. It Until April 15, 2018 ca.1800. brings up another underlying

IL GIORNALE degli UFFIZI 7

Life at the Uffizi ASSOCIAZIONE President Countess Maria Vittoria Colonna Rimbotti President Elisabetta Sirani, Countess Maria Vittoria Colonna Rimbotti Vice-Presidents - Michael J. Bracci, Allegory of Painting Emanuele Guerra (Self-portrait?), 1658, Vice-President - Emanuele Guerra Moscow, The Puškin State Executive Director - Lisa Marie Browne Museum of Fine Arts. Executive Directors - Patrizia Asproni, Ginevra Cerrina Feroni, Andrea Del Re, Legal Counsel - Howard J. Freedman Fabrizio Guidi Bruscoli, Mario Marinesi (Treasurer), Treasurer - Bruce Crawford Elisabetta Puccioni (Secretary), Oliva Scaramuzzi, Eike D. Schmidt, Secretary - Barbara Chamberlain exhibit until June 10, Catterina Seia 2018 in the Edoardo Directors - Diana M. Bell, Susan D. McGregor, Detti and the Fireplace Auditors- Francesco Corsi, Madeleine Parker, Diann G. Scaravilli rooms of the Gabinet- Enrico Fazzini, Corrado Galli to dei Disegni e delle Alternate Auditors - Alberto Conti, Honorary Member Valerio Pandolfi Eike D. Schmidt, Uffizi Galleries Director Stampe (Department of Prints and Drawings) Secretariat - Tania Dyer, Bruna Robbiani Advisory Board of the Uffizi Galleries. c/o UnipolSai, via L.Magnifico 1, 50129 Firenze. Chairman - Diann G. Scaravilli The artist from Bolo- gna, who Carlo Cesare Tel. +39 055 4794422 - Fax +39 055 4792005 [email protected] Vice Chairman - Daniela Di Lorenzo Malvasia praised just Secretary - Barbara Chamberlain a few years after her Welcome Desk - Luminita Cristescu n Spotlight on Women premature death for her “ef- Galleria delle Statue e delle Pitture degli Advisors - Linda Civerchia Balent, fortless accomplishment and Uffizi,Entrance 2 - Tel. +39 055 285610 Francine Birbragher-Rozencwaig, or the second consecutive [email protected] Marianne Caponnetto, Fyear on International Wom- grace without affectation”, was Scott Diament, Mars Jaffe, en’s Day, the Uffizi Galleries famous among her contempo- triannual publication Gordon A. Lewis Jr., raries for the striking beauty that of the Amici degli Uffizi Irvin M. Lippman, have inaugurated two exhibits Meredith A. Townsend, dedicated to women artists – one was thought to be a metaphor of Editor-in-chief Linda J. Tufo from the past and the other con- the beauty in her art. The artistic Maria Vittoria Colonna Rimbotti temporary. “In 2018 – the direc- Honorary Members personality of Sirani is unveiled Editorial board H.R.H Princess Maria Pia di Savoia tor Eike D. Schmidt announced through a select assembly of 35 de Bourbon-Parma, – we are turning the spotlight on works coming from private and President H.R.H. Prince Michel the seventeenth-century painter Eike D. Schmidt de Bourbon-Parma, public Italian collections, in ad- Countess Chiara Miari Fulcis Ferragamo from Bologna Elisabetta Sirani, dition to the Self-portrait as an Al- Uffizi Coordinator and on the sculptress from Sar- legory of Painting from the Puškin Friends of the Uffizi Gallery Salvatore La Spina dinia Maria Lai, whose works are Museum of Moscow. 205 Worth Avenue Suite 201 related to elements and process- Palm Beach, Florida 33480 Managing Editor Tel.: 561.289.4090 es in textiles in the sense of fiber Maria Novella Batini Fax: 561.391.1597 art. Added to this list is an exhibit [email protected] n “The Thread and the Contributors for this issue on women artists and musicians Eike D. Schmidt, at the Oratory of Santa Caterina Infinite” HOW TO JOIN Francesca de Luca, Marzia Faietti, delle Ruote in Bagno a Ripoli, Corinna T. Gallori, Antonio Godoli, THE FRIENDS OF THE entitled With sweet strength. Wom- he “Andito degli Angiolini” in Alessandra Griffo, Tommaso Mozzati UFFIZI GALLERY Palazzo Pitti hosts an exposi- en in the universe of music in the T Translator Cinque and Seicento (curator L. tion curated by Elena Pontiggia Josephine Rogers Mariotti Membership dues are integral Donati). The theme of the con- dedicated to a contemporary to the mission of Friends dition of women will also be the woman artist, Maria Lai (1919- Graphic design and layout of the Uffizi Gallery and Edizioni Polistampa - Firenze focus of the International Day 2013), who, using the leitmotiv of because the organization Via Livorno 8/32 - 50142 Firenze, Italy. for the Elimination of Violence fiber, combines the tradition of Tel. +39 055 737871 is a 501(c)(3) they are tax against Women on November her native Sardinia and artisan Fax +39 055 7378760 deductible. 25 when the exhibition on the textiles with the artistic language For any questions about Rape of Polyxena by Pio Fedi and of the Novecento. The exhibit is memberships, donations, a conference focusing on the open until June 3. A well-known corporate sponsorships, Sponsor of the Association subject will open”. personality within the panorama planned giving or in-kind Amici degli Uffizi with their of international art and present contribution: donations, please call at with her works at Venice’s Bien- 561-289-4090 n The Talent nale, Maria Lai created art for over UnipolSai or email of Elisabetta Sirani seventy years through constant Assicurazioni S.p.a. Bologna [email protected] he show Painting and drawing renewal, from her lyrical realism or visit Tlike a true Master: the Talent of of the ’40s to the abstract formulas https://www.friendsoftheuffizi Elisabetta Sirani (Bologna, 1638- of the late ’50s, to her multi-mate- gallery.org/memberships/ 1665), curated by Roberta Aliventi rial works of the ’60s and subse- and Laura Da Rin Bettina, is on quent conceptual art.

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