Importante Progetto Culturale Per I Tuoi Clienti Italiani E Stranieri

Total Page:16

File Type:pdf, Size:1020Kb

Importante Progetto Culturale Per I Tuoi Clienti Italiani E Stranieri Importante progetto culturale per i tuoi clienti italiani e stranieri Primo Giorno: Arrivo a Firenze - Sistemazione in albergo 4 Stelle nelle camere assegnate. Visit of Palazzo Medici Riccardi, the residence of Cosimo il Vecchio, which offers visitors the opportunity to retrace at least four centuries of history of art, architecture and collecting in Florence, with its Chapel of the Magi, with the sumptuous fresco by Benozzo Gozzoli, the Sala del Caminetto and the Galleria Luca Giordano. Lunch in a typical Florentine restaurant Guided visit of Palazzo Vecchio on Piazza della Signoria, which explains the rise to power of the Medici family, its conquest and the development: before Gonfalonier, after the creation of the Duchy then Grand Duchy. Internal visit of the Salone dei Cinquecento with the imposing frescoes by Vasari, the Sala dei Gigli and the other monumental areas of the ancient Palazzo dei Medici. Dinner in a typical restaurant in Piazza della Signoria. Return to the hotel. Overnight Second day: In the morning, visit of the Uffizi Gallery and the Vasari Corridor with arrival at Palazzo Pitti - External visit of Palazzo Pitti - Visit of Boboli Gardens (caves, fountains, gardens, labyrinths) and Forte di Belvedere Lunch in a typical restaurant in Piazza Pitti . In the afternoon, visit to the Medici Chapels, Mausoleum of the Medici Family where the Tombs of Lorenzo the Magnificent and Giuliano de Medici Duke of Urbino are located Dinner at the Brunelleschi restaurant on the splendid panoramic terrace of the Hotel Baglioni - return to the hotel and overnight Third day: In the morning, guided tour of the Medici Villa La Petraia at Castello, one of the most fascinating residences of the family, and of the Medici Villa of Cafaggiolo. Lunch in a typical Mugello restaurant. In the afternoon, transfer to Artimino and visit of the majestic Villa La Ferdinanda, called Dei Cento Camini, and the State Museum of Villa Medici at Cerreto Guidi. Dinner at Cerreto Guidi Return to the hotel in Florence and overnight. Fourth day: Departure for Poggio a Caiano for the visit of the State Museum Medici Villa. After the guided tour departure for Lucca, For the visit of Villa Oliva, which belonged to Cardinal Buonvisi, Ambassador to the court of the Sun King of with its monumental Loggia, gardens and Limonaia (lemon garden) Lunch in a typical restaurant in Lucca, followed by a guided tour of the beautiful city Then guided tour of the Medici Villa Torrigiani in Camigliano in the Municipality of Capannori (Lucca): the monumental, exquisite, baroque Villa belonged to the Stigliano Colonna princes of Rome, family of popes and princes. Return to Florence - dinner in a typical restaurant and overnight. Fifth day: Excursion to Pisa: guided tour of the Cathedral, the Leaning Tower and the Palazzo dei Cavalieri di Santo Stefano Lunch in a typical restaurant in Pisa. After lunch departure for San Gimignano. Visit of the beautiful city of a hundred towers. Return to the hotel in Florence - Dinner in a typical restaurant and overnight stay Sixth day: Free day for shopping in Florence Gala dinner at Palazzo Borghese in Florence. Seventh day: Departure for the cities of origin and end of our services The cost of the package depends on the number of participants The program can be divided, according to interest and needs. For info and reservation: HELLO FLORENCE & CHIANTI Travel Agency, GREVE IN CHIANTI FLORENCE ITALY Phone +39055853606 +393351257727 [email protected] .
Recommended publications
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • TREASURES from the Uffizi Gallery Overview
    Offering of the Angels: Treasures from the Uffizi Gallery Overview Oering of the Angels: Treasures from the Uzi Gallery is a traveling exhibition from the famed Uzi Gallery in Florence, Italy. The exhibition features 45 works – two large tapestries and 43 paintings by Renaissance artists from the 15th to 17th century. This exhibition, along with related programming, will be presented at the James A. Michener Art Museum from April 21, 2012 – August 10, 2012. Curated by Antonio Natali, the Director of the Uzi, the exhibition examines classical sacred art as the visual representation of the path to redemption and the life of Christ, and also presents the broad diversity and stylistic evolution of art from Northern Italy during the seminal Renaissance period. The exhibition includes works by masters such as Botticelli, Tintoretto, Parmigianino, Lorenzo Monaco, Guercino, Cristofano and Alessandro Allori. A recently restored painting attributed to Tiziano has just been added to the exhibition, and will be on public display for the rst time in recent history. This tour is the only time these masterworks will be seen in the United States, and the Michener Art Museum is the only venue to host this exhibition in the Northeast region. www.MichenerArtMuseum.org A Night at the Uffizi A night of firsts To celebrate the première of the exhibition Oering of the Angels: Treasures from the Uzi Gallery, the James A. Michener Art Museum is hosting a black tie gala event, A Night at the Uzi. Oering of the Angels is the rst American tour of these works by Italian Renaissance masters and features 15th-17th century paintings and tapestries from the renowned Uzi Gallery in Florence, Italy.
    [Show full text]
  • Gender Dynamics in Renaissance Florence Mary D
    Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed.
    [Show full text]
  • Insider's Florence
    Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy.
    [Show full text]
  • TRA PIANURA E COLLINA: CASTELLO E LE VILLE MEDICEE La Mappa Il Territorio Del Nostro Percorso
    A NORD OVEST TRA PIANURA E COLLINA: CASTELLO E LE VILLE MEDICEE La mappa Il territorio del nostro percorso Questo percorso presenta aspetti di assoluto interesse storico, artistico e paesaggistico, in cui spiccano per bellezza, importanza, monumentalità le ville suburbane di svago e delizia: quelle medicee di Castello e Petraia, con i loro meravigliosi giardini all’italiana (non solo natura adattata alla geometria prospettica del verde, ma programma metaforico e simbolico del potere e del prestigio del Principe) e quelle che furono dei Villa di Castello; la grotta degli animali Medici, come Villa Corsini, ma anche Villa La Quiete alle Montalve (anch’essa appartenuta ai Medici) dove, dal 1724, risiedette Anna Maria Luisa de’ Medici, elettrice Palatina, ultima discendente della famiglia. Questa zona, in parte arrampicata sulla collina di Quarto, deve il suo nome all’antico borgo di origine etrusca e romana (Castellum, cioè cisterna, serbatoio d’acqua) su cui passava l’acquedotto fatto costruire dal senatore Marco Opelio Macrino (164-218) e col quale venivano distribuite Villa della Petraia:veduta le acque verso Firenze. Terra elettiva per l’otium e la delizia dei Medici, teatro di eventi fondamentali nella vita della famiglia, oggi la zona preserva, pur assediata a valle dallo sviluppo urbanistico, una sua precisa e straordinaria memoria storica fatta, anche, di strade e viuzze murate a racchiudere porzioni di campagna, antiche case contadine, olivete e poderi, testimonianza di un passato a vocazione agricola basato sull’organizzazione
    [Show full text]
  • Mission Statement History
    Mission Statement The Friends of the Uffizi Gallery was established in 2006 as the United States "sister" organization to the Amici degli Uffizi, in Florence, Italy. In response to the May, 1993 terrorist bombing that damaged several art works and portions of the Uffizi Gallery, Amici was founded in Florence by a group of concerned citizens, including Contessa Maria Vittoria Colonna Rimbotti, the current President of both organizations. A U.S. based tax-exempt 501(c)(3) organization, the Friends of the BOARD OF DIRECTORS Uffizi Gallery, was created to support the Uffizi Gallery in Florence, Italy, by President raising awareness of the Uffizi and its cultural treasures and by providing resources Contessa Maria Vittoria Colonna Rimbotti for acquisition, preservation, restoration and education. Vice-President Emanuele Guerra History Director of Operations Mary Jo Zingale The Amici degli Uffizi, established in 1993 after the Uffizi bombing, has ever since Treasurer supported the Uffizi Gallery in Florence by facilitating acquisitions, supporting Bruce Crawford restorations and organizing special exhibitions. In tandem with the Amici degli Secretary Uffizi, the Friends of the Uffizi Gallery, founded in 2006 raises funds to support Madeleine Parker these activities through the efforts of its dedicated members and patrons. Over 30 Honorary Members restoration projects, designated priorities by Antonio Natali, Director of the Uffizi Antonio Natali Gallery, have been completed through 2012. Diann G. Scaravilli EXECUTIVE DIRECTOR The Uffizi Gallery, originally showcasing the Medici family collection of ancient Lisa Marie Browne sculptures, is considered one of the world's first public museums. It receives over ADVISORY BOARD 1.6 million visitors per year.
    [Show full text]
  • Le Lunette Di Giusto Utens Alla Ricerca Di Un Luogo Ameno E Di Svago Per La
    Le lunette di Giusto Utens Alla ricerca di un luogo ameno e di svago per la corte, Ferdinando I de' Medici ordinò nel 1596 a Bernardo Buontalenti l'edificazione, nei pressi del Barco Reale, della villa di Artimino. La collocazione, un alto poggio dal quale l'imponente fabbrica domina il territorio circostante, fu scelta come metafora del fermo governo del Medici sul principato toscano e la residenza di caccia fu presto nota con l'epiteto di "La Ferdinanda" in onore del suo fondatore, il granduca. Come per il sito scelto, anche la decorazione interna vuole celebrare il potere mediceo. La monumentale architettura dei due saloni di rappresentanza fu infatti arricchita da affreschi e stucchi dorati secondo un elaborato programma iconografico, volto ad esaltare le virtù personali di Ferdinando I e di sua moglie Cristina di Lorena tanto quanto la magnificenza del loro regno. Nel cosiddetto Salone Grande, in particolare, le lunette di raccordo tra le pareti e la volta del soffitto diventarono il luogo ideale per celebrare i possedimenti del principato mediceo ed il controllo capillare del territorio operato dal granduca. E' qui che trovarono posto 17 tele raffiguranti le principali ville medicee, lunette che tra il 1599 ed il 1604 il pittore fiammingo Giusto Utens realizzò con minuzia di particolari utilizzando una prospettiva "a volo d'uccello". Le ville scelte sono Cafaggiolo, Il Trebbio, Pratolino, Marignolle, Lappeggi, Castello, La Petraia, il Belvedere con Palazzo Pitti, Poggio a Caiano, L'Ambrogiana, Montevettolini, La Magia, Colle Salvetti, Seravezza. Perdute sono invece le tele raffiguranti Careggi, Cerreto Guidi e Artimino. Le tele furono trasferite nel 2014 nella villa medicea della Petraia dove sono oggi esposte al pubblico, dopo essere state a lungo in deposito presso il Museo Storico Topografico "Firenze com'era".
    [Show full text]
  • La Chasse Et L'organisation Du Paysage Dans La Toscane Des
    La chasse et l’organisation du paysage dans la Toscane des Médicis Hervé Brunon To cite this version: Hervé Brunon. La chasse et l’organisation du paysage dans la Toscane des Médicis. Chasses princières dans l’Europe de la Renaissance, 2004, Chambord, France. p. 219-249. halshs-00138496 HAL Id: halshs-00138496 https://halshs.archives-ouvertes.fr/halshs-00138496 Submitted on 19 Feb 2008 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Article paru dans Chasses princières dans l’Europe de la Renaissance. Actes du colloque de Chambord (1er et 2 octobre 2004), études réunies par Claude d’Anthenaise et Monique Chatenet avec la collaboration de Raphaël Abrille et Marie-Christine Prestat, Arles, Actes Sud / Fondation de la Maison de la Chasse et de la Nature / Centre André Chastel / Centre d’Études Supérieures de la Renaissance, 2007, p. 219-249 La chasse et l’organisation du paysage dans la Toscane des Médicis Hervé Brunon CNRS, Centre André Chastel, Paris Pour Luigi Zangheri Dans un fameux passage où il reprend le vieux parallèle entre l’exercice de la
    [Show full text]
  • Florence Celebrates the Uffizi the Medici Were Acquisitive, but the Last of the Line Was Generous
    ArtNews December 1982 Florence Celebrates The Uffizi The Medici were acquisitive, but the last of the line was generous. She left all the family’s treasures to the people of Florence. by Milton Gendel Whenever I vist The Uffizi Gallery, I start with Raphael’s classic portrait of Leo X and Two Cardinals, in which the artist shows his patron and friend as a princely pontiff at home in his study. The pope’s esthetic interests are indicated by the finely worked silver bell on the red-draped table and an illuminated Bible, which he has been studying with the aid of a gold-mounted lens. The brass ball finial on his chair alludes to the Medici armorial device, for Leo X was Giovanni de’ Medici, the second son of Lorenzo the Magnificent. Clutching the chair, as if affirming the reality of nepotism, is the pope’s cousin, Cardinal Luigi de’ Rossi. On the left is Cardinal Giulio de’ Medici, another cousin, whose look of reverie might be read, I imagine, as foreseeing his own disastrous reign as Pope Clement VII. That was five years in the future, of course, and could not have been anticipated by Raphael, but Leo had also made cardinals of his three nephews, so it wasn’t unlikely that another member of the family would be elected to the papacy. In fact, between 1513 and 1605, four Medici popes reigned in Rome. Leo X was a true Renaissance prince, whose civility and love of the arts impressed everyone - in the tradition of his father, Lorenzo the Magnificent.
    [Show full text]
  • Celebrating the City: the Image of Florence As Shaped Through the Arts
    “Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom.
    [Show full text]
  • Encounters Between Tuscany and Lorraine
    Originalveröffentlichung in: Strunck, Christina (Hrsg.): Medici women as cultural mediators (1533-1743) = Le donne di casa Medici e il loro ruolo di mediatrici culturali fra le corti d'Europa, Milano 2011, S. 149-181 How Chrestienne Became Cristina Political and Cultural Encounters between Tuscany and Lorraine Christina Strunck While Florence has recently celebrated Caterina and Maria de Medici, the two Florentine queens of France,1 a third highly influential woman, who had close ties to both oi them, has hitherto received only very little attention: Christine of Lorraine, Grand Duchess of luscany (fig. 1). Christine, born in 1565, was Caterina’s favourite grand-daughter and had been raised at the French court since her mother, Caterina’s daughter Claude, had died in childbed in 1575. Caterina instructed the girl in politics’ and arranged the marriage match with her luscan relative, Grand Duke Ferdinando de’ Medici. From her wedding in 1589 until her death in 1636 Christine developed numerous political and cultural initiatives that have left their mark on Florence and Tuscany.'1 She maintained multi-layered relationships both with France and with Lorraine, the latter then still an independent state, governed in turn by Christine s father, Duke Charles Ill (reigned 1559-1608), and her brothers Henry II (1608-1624) and Francois II (1624), before her nephew Charles IV of Lorraine (1624-1675) finally had to accept the French occupation of his duchy.5 Although much could be said about Christine s dealings with the French court and with Maria de’ Medici in particular,1 in this paper I would like to focus only on the relationships between Tuscany and Lorraine sponsored by the Grand Duchess - a topic that has never been the object of sustained investigation.
    [Show full text]
  • Love in Control by HEIDI J
    68 © 2016 The Institute for Faith and Learning at Baylor University Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Botticelli draws freely from mythological figures to create a moral allegory of chaste and pure love controlling the sensual passions. Sandro Botticelli (1445-1510), PALLAS AND THE CENTAUR (c. 1482). Tempera on canvas. 81½“ x 58¼”. Galleria degli Uffizi, Florence. Photo: Scala / Art Resource, NY. Used by permission. © 2016 The Institute for Faith and Learning at Baylor University 69 Love in Control BY HEIDI J. HORNIK y the 1480s, Sandro Botticelli was one of the leading painters of the Renaissance and was working for the Medici family. Many works of Bthis period, often considered his masterpieces, use mythological sub- jects to blend contemporary historical references and moral instruction. Pallas and the Centaur, which is recorded in the 1498-1499 inventory as “Camilla and a Satyr,” originally was hung in the “old house” of the Medici family in a ground floor room alongside the chamber of Lorenzo, together with the Primavera.1 The old palace on Via Larga was owned by Lorenzo and Pierfrancesco de’ Medici, cousins of Lorenzo the Magnificent. The female figure with long blonde hair wears a wreath of olive branches with a diamond at the top. Her white, transparent gown is decorated with linked balls or circles, perhaps a symbol of the Medici family crest. She wears leather boots and bears defensive weapons—a diamond-crusted halberd (combined spear and battle axe) and a shield on her back.2 The centaur submits to her, despite his having a bow and quiver of arrows.
    [Show full text]