Delwedd:Johann Zoffany - The Tribuna of the Uffizi - WGA26000.jpg
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Johann Zoffany: The Tribuna of the Uffizi | ||||||||||||||||||||||||||||||
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Arlunydd |
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Teitl |
label QS:Lit,"Veduta della Tribuna degli Uffizi"
label QS:Lfr,"La Tribune des Offices"
label QS:Lhr,"Tribina galerije Uffizi"
label QS:Lpl,"Trybuna Galerii Uffizich"
label QS:Luk,"Трибуна Уффіці"
label QS:Lnl,"De ´Tribuna´ in de Uffizi in Florence"
label QS:Lhi,"ट्रिब्युना ऑफ़ द युफ़िज्जी"
label QS:Lpt,"Tribuna dos Uffizi"
label QS:Lde,"Tribuna der Uffizien" |
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Object type | paentiad | |||||||||||||||||||||||||||||
Genre | art gallery painting | |||||||||||||||||||||||||||||
Depicted people |
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Dyddiad |
1772 - 1777 date QS:P,+1772-00-00T00:00:00Z/8,P1319,+1772-00-00T00:00:00Z/9,P1326,+1777-00-00T00:00:00Z/9 |
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Cyfrwng | oil on canvas | |||||||||||||||||||||||||||||
Hyd a lled |
taldra: 123.5 cm ; lled: 155 cm dimensions QS:P2048,+123.5U174728 dimensions QS:P2049,+155.0U174728 |
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Casgliad |
institution QS:P195,Q1459037
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Rhif catalogio |
RCIN 406983 (Casgliad Brenhinol Lloegr) |
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Cyfeiriadau | ||||||||||||||||||||||||||||||
Ffynhonnell/Ffotograffydd |
Web Gallery of Art: Delwedd Info about artwork reference_wga QS:P973,"http://www.wga.hu/html/z/zoffany/tribuna.html" |
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Caniatâd (Ailddefnyddio'r ffeil hon) |
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Annotations InfoField | This image is annotated: View the annotations at Commons |
Annibale Carracci
Venus with a Satyr and Cupids
Raffaello Sanzio
Raffaelo Sanzio
Grande Madonna Cowper
Guido Reni
Cleopatra
Peter Paul Rubens
The Four Philosophers
Raffaello Sanzio
Portrait of Pope Leo X and his cousins,
cardinals Giulio de' Medici and Luigi de' Rossi.
Pietro da Cortona
Abraham and Hagar
School of Perugino
Madonna, the Child,
Saint Elizabeth and Saint John the Baptist
Peter Paul Rubens
The Consequences of War
Titien
Hans Holbein
Portread o Sir Richard Southwell
Raffaello / Lorenzo di Credi
Justus Sustermans
Portread o Galileo Galilei
Livorno torso
Venus de' Medici
The Wrestlers
School of Titian
Madonna and Child with St Catherine
Dancing faun
Bartolomeo Manfredi
Items portrayed in this file
yn portreadu
The Tribuna of the Uffizi Saesneg
media type Saesneg
image/jpeg
Hanes y ffeil
Cliciwch ar ddyddiad / amser i weld y ffeil fel ag yr oedd bryd hynny.
Dyddiad / Amser | Bawdlun | Hyd a lled | Defnyddiwr | Sylw | |
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cyfredol | 10:51, 10 Mehefin 2011 | 1,385 × 1,100 (319 KB) | JarektUploadBot | {{Artwork |artist = {{Creator:Johann Zoffany}} |title = The Tribuna of the Uffizi |description = |date = {{other date|between|1772|1778}} |medium = {{Oil on canvas}} |
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Metadata
Mae'r ffeil hon yn cynnwys gwybodaeth ychwanegol, sydd mwy na thebyg wedi dod o'r camera digidol neu'r sganiwr a ddefnyddiwyd i greu'r ffeil neu ei digido. Os yw'r ffeil wedi ei cael ei newid ers ei chreu efallai nad yw'r manylion hyn yn dal i fod yn gywir.
Sylwadau ar y ffeil JPEG | ZOFFANY, Johann
(b. 1733, Frankfurt, d. 1810, Strand-on-the-Green) The Tribuna of the Uffizi 1772-78 Oil on canvas, 124 x 155 cm Royal Collection, Windsor The painting has become one of the most celebrated images of eighteenth-century taste. Zoffany shows a group of connoisseurs and members of the nobility admiring works of art in the Tribuna, the principal room of the Uffizi in Florence, which was the most famous gallery in the world during the eighteenth century. The Tribuna had been built by Francesco de' Medici in 1585-9 to a design by Bernardo Buontalenti as a showcase for the most precious items in the Medici collection. Although Zoffany has depicted the architectural features of the Tribuna with a fair degree of accuracy, he has rearranged the works of art and in some cases altered their scale. In fact, he has also incorporated a number of paintings from that part of the Medici collection housed in the Palazzo Pitti, as well as including several additional pieces of sculpture. The painter thus successfully gives the gallery a more crowded and undoubtedly richer appearance than it had during the eighteenth century, and by this means has facilitated his rendering of the complicated sightlines of the room and the perspectival inlaid marble decoration of the floor. The setting is therefore somewhat idealised, but it remains a perfectly accurate representation of the significance of the Tribuna for eighteenth-century connoisseurship, with its emphasis on the antique, the High Renaissance, the Bolognese school and Rubens. Zoffany painted the picture in Florence expressly for Queen Charlotte, beginning in 1772. Much of the composition was completed the following year, but the artist continued working on it intermittently until late in 1777, making changes some of which are now only visible by X-ray. Notable among these changes is the inclusion of a self portrait on the left of the composition, where the artist has shown himself peering round the unframed canvas of the Virgin and Child by Raphael. For this purpose, it is almost as if the painter has abandoned his easel, partly visible in the lower right corner of the picture, and walked across or around the back of the room to partake in the discussion. The figures in the picture, all of whom are identifiable, fall into three groups: those on the left between the sculptures of Cupid and Psyche and Satyr with the Cymbals; those in the foreground, right of centre, gathered around the Venus d'Urbino by Titian; and those on the right around the Venus de' Medici. These portraits were meticulously painted by Zoffany and won widespread admiration, although apparently not from George III and Queen Charlotte, who claimed that such recognisable figures were inappropriate to the scene. In essence, however, Zoffany has amalgamated the traditional subject of a gallery view, much exploited by Flemish painters in the seventeenth century, with the conversation piece evolved by British painters during the eighteenth century, although recently other more cryptic levels of meaning have been sought in the picture. Royal patronage enabled the artist to have the Venus d'Urbino by Titian taken down from the wall for copying after the Grand Duke of Tuscany (Ferdinando I) had specifically decreed that the picture had been copied too much and should not be moved again for such a purpose. Correspondingly, there are one or two references in the picture to the Royal Collection: the Virgin and Child by Raphael, held by the artist, was a work that was offered to George III by Earl Cowper (this is the Niccolini-Cowper Madonna, now in the National Gallery of Art, Washington) and the Samian Sibyl by Guercino, seen at the lower edge of the composition, is a pendant to the Libyan Sibyl by the same artist bought by George III in the 1760s. The Tribuna of the Uffizi is a technical tour de force. The attention to detail and texture involves not just the portraits, but also the copies after the works of art nearly all of which are identifiable. Controlled brushwork and careful application are the hallmarks of Zoffany's style, and they are seen at their best in this famous picture without any of the loss of verve that such a long and elaborate undertaking might have forced upon the artist. <P> <TABLE ALIGN=LEFT CELLPADDING=5 BORDER=1 WIDTH=320 BGCOLOR="#99CCCC"> <TR VALIGN=MIDDLE><TD><IMG SRC="/support/gif/listen.gif" BORDER=0 VALIGN=MIDDLE> Suggested listening (streaming mp3, 19 minutes):<BR><A HREF="#" onClick="w=window.open ('/music1/19_cent/mussorgsky_exhibition_excerpts.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><B>Modest Mussorgsky: Picture from an Exhibition, arr. by Maurice Ravel (excerpts)</B></A> </TD></TR></TABLE>
Author: ZOFFANY, Johann Title: The Tribuna of the Uffizi Time-line: 1751-1800 School: German Form: painting Type: interior |
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