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battista sforza

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1.英国文艺复兴特点英文版要点

2.谁能马上提供些关于英国文艺复兴的资料?英文版的最好

battista sforza

英国文艺复兴特点英文版要点

Renaissance

The Renaissance, also known as "Il Rinascimento" (in Italian), was an influential cultural movement which brought about a period of scientific revolution and artistic transformation, at the dawn of modern European history. It marks the transitional period between the end of the Middle Ages and the start of the Modern Age. The Renaissance is usually considered to have begun in the 14th century in Italy and the 16th century in northern Europe.

Historiography

The term Rebirth (Rinascenza), to indicate the flourishing of artistic and scientific activities starting in Italy in the 13th century, was first used by Italian historian Giorgio Vasari in the Vite, published in 1550. The term Renaissance is the French translation, used by French historian Jules Michelet, and expanded upon by Swiss historian Jacob Burckhardt (both in the 1860s). Rebirth is used in two ways. First, it means rediscovery of ancient classical texts and learning and their applications in the arts and sciences. Second, it means that the results of these intellectual activities created a revitalization of European culture in general. Thus it is possible to speak of the Renaissance in two different but meaningful ways: A rebirth of classical learning and knowledge through the rediscovery of ancient texts, and also a rebirth of European culture in general.

Leonardo da Vinci's Vitruvian Man, an example of the blend of art and science during the Renaissance.[edit]Multiple Renaissances

During the last quarter of the 20th century many scholars took the view that the Renaissance was perhaps only one of many such movements. This is in large part due to the work of historians like Charles H. Haskins (1870–1937), who made a convincing case for a "Renaissance of the 12th century," as well as by historians arguing for a "Carolingian Renaissance." Both of these concepts are now widely accepted by the scholarly community at large; as a result, the present trend among historians is to discuss each so-called renaissance in more particular terms, e.g., the Italian Renaissance, the English Renaissance, etc. This terminology is particularly useful because it eliminates the need for fitting "The Renaissance" into a chronology that previously held that it was preceded by the Middle Ages and followed by the Reformation, which many believe to be inaccurate. The entire period is now often replaced by the term "Early Modern". (See periodisation, Lumpers and splitters)

Other periods of cultural rebirth have also been termed a "renaissance"; such as the Harlem Renaissance or the San Francisco Renaissance. The other renaissances are not considered further in this article, which will concentrate on the Renaissance as the transition from the Middle Ages to the Modern Age.

Critical views

Since the term was first created in the 19th century, historians have various interpretations on the Renaissance.

The predominant view is that the Renaissance of the 15th century in Italy, spreading through the rest of Europe, represented a reconnection of the west with classical antiquity, the absorption of knowledge—particularly mathematics—from Arabic, the return of experimentalism, the focus on the importance of living well in the present (e.g. humanism), an explosion of the dissemination of knowledge brought on by printing and the creation of new techniques in art, poetry and architecture which led to a radical change in the style and substance of the arts and letters. This period, in this view, represents Europe emerging from a long period as a backwater, and the rise of commerce and exploration. The Italian Renaissance is often labelled as the beginning of the "modern" epoch.

Marxist historians view the Renaissance as a pseudo-revolution with the changes in art, literature, and philosophy affecting only a tiny minority of the very wealthy and powerful while life for the great mass of the European population was unchanged from the Middle Ages. They thus deny that it is an event of much importance.

Today most historians view the Renaissance as largely an intellectual and ideological change, rather than a substantive one. Moreover, many historians now point out that most of the negative social factors popularly associated with the "medieval" period - poverty, ignorance, warfare, religious and political persecution, and so forth - seem to have actually worsened during this age of Machiavelli, the Wars of Religion, the corrupt Borgia Popes, and the intensified witch-hunts of the 16th century. Many of the common people who lived during the "Renaissance" are known to have been concerned by the developments of the era rather than viewing it as the "golden age" imagined by certain 19th century authors. Perhaps the most important factor of the Renaissance is that those involved in the cultural movements in question - the artists, writers, and their patrons - believed they were living in a new era that was a clean break from the Middle Ages, even if much of the rest of the population seems to have viewed the period as an intensification of social maladies.

Johan Huizinga (1872–1945) acknowledged the existence of the Renaissance but questioned whether it was a positive change. He argued that the Renaissance was a period of decline from the high Middle Ages, which destroyed much that was important. The Latin language, for instance, had evolved greatly from the classical period and was still used in the church and by others as a living language. However, the Renaissance obsession with classical purity saw Latin revert to its classical form and its natural evolution halted. Robert S. Lopez has contended that it was a period of deep economic recession. Meanwhile George Sarton and Lynn Thorndike have both criticised how the Renaissance affected science, arguing that progress was slowed.

Start of the Renaissance

The Santa Maria del Fiore church of Florence, Italy. Florence was the capital of the RenaissanceThe Renaissance has no set starting point or place. It happened gradually at different places at different times and there are no defined dates or places for when the Middle Ages ended. The starting place of the Renaissance is almost universally ascribed to Central Italy, especially the city of Florence. One early Renaissance figure is the poet Dante Alighieri (1265–1321), the first writer to embody the spirit of the Renaissance.

Petrarch (1304–1374) is another early Renaissance figure. As part of the humanist movement he concluded that the height of human accomplishment had been reached in the Roman Empire and the ages since have been a period of social rot which he labeled the Dark Ages. Petrarch saw history as social, art and literary advancement, and not as a series of set religious events. Re-birth meant the rediscovery of ancient Roman and Greek Latin heritage through ancient manuscripts and the humanist method of learning. These new ideas from the past (called the "new learning" at the time) triggered the coming advancements in art, science and other areas.

Another possible starting point is the fall of Constantinople to the Turks in 1453. It was a turning point in warfare as cannon and gunpowder became a central element. In addition, Byzantine-Greek scholars fled west to Rome bringing renewed energy and interest in the Greek and Roman heritage, and it perhaps represented the end of the old religious order in Europe.

Italian Renaissance

Main article: Italian Renaissance

Raphael was famous for depicting illustrious figures of the Classical past with the features of his Renaissance contemporaries. School of Athens (above) is perhaps the most extended study in this.The Italian Renaissance was intertwined with the intellectual movement known as Renaissance humanism and with the fiercely independent and combative urban societies of the city-states of central and northern Italy in the 13th to 16th centuries. Italy was the birthplace of the Renaissance for several reasons.

The first two or three decades of the 15th century saw the emergence of a rare cultural efflorescence, particularly in Florence. This 'Florentine enlightenment' (Holmes) was a major achievement. It was a classical, classicising culture which sought to live up to the republican ideals of Athens and Rome. Sculptors used Roman models and classical themes. This society had a new relationship with its classical past. It felt it owned it and revived it. Florentines felt akin to 1st century BC republican Rome. Rucellai wrote that he belonged to a great age; Leonardo Bruni's Panegyric to the City of Florence expresses similar sentiments. There was a genuine appreciation of the plastic arts—pagan idols and statuary—with nudity, expressions of human dignity, etc.

A political map of the Italian Peninsula circa 1494.A similar parallel movement was also occurring in the arts in the early 15th century in Florence—an avant-garde, classicising movement. Many of the same people were involved; there was a close community of people involved in both movements. Valla said that, as they revived Latin, so was Latin architecture revived, for example Rucellai's Palazzo built by Leone Battista Alberti. Of Brunelleschi, he felt that he was the greatest architect since Roman times.

Sculpture was also revived, in many cases before the other arts. There was a very obvious naturalism about contemporary sculpture, and highly true to life figures were being sculpted. Often biblically-themed sculpture and paintings included recognizable Florentines.

This intense classicism was applied to literature and the arts. In most city-republics there was a small clique with a camaraderie and rivalry produced by a very small elite. Alberti felt that he had played a major part, as had Brunelleschi, Masaccio, etc. Even he admitted he had no explanation of why it happened.

There are several possible explanations for its occurrence in Florence:

1. The Medici did it—the portrait and solo sculpture emerged, especially under Lorenzo. This is the conventional response:

Renaissance Florence = The Medici = The genius of artisans = The Renaissance

Unfortunately, this fails to fit chronologically. 1410 and 1420 can be said to be the start of the Renaissance, but the Medici came to power later. They were certainly great patrons but much later. If anything, the Medici jumped on an already existing bandwagon.

2. The great man argument. Donatello, Brunelleschi and Michelangelo were just geniuses.

This is a circular argument with little explanatory power. Surely it would be better, more human and accessible to understand the circumstances which helped these geniuses to come to fruition.

3. A similar argument is the rise of individualism theory attributable to Burckhardt. This argues for a change from collective neutrality towards the lonely genius. Goldthwaite says it was part of the emergence of the family and the submersion of the clan system.

However, the Kents (F.W. and Dale) have argued that this was and remained a society of neighborhood, kin and family. Florentines were very constrained and tied into the system; it was still a very traditional society.

Leonardo da Vinci,Lady with an Ermine, Czartoryski Museum, Kraków4. Frederick Antal has argued that the triumph of Masaccio et al. was the triumph of the middle class over the older, more old-fashioned feudal classes, so that the middle class wanted painters to do more bourgeois paintings.

This does not make sense. Palla Strozzi commissioned old fashioned paintings whereas Cosimo de' Medici went for new styles in art.

5. Hans Baron's argument is based on the new Florentine view of human nature, a greater value placed on human life and on the power of man, thus leading to civic humanism, which he says was born very quickly in the early 15th century. In 1401 and 1402, he says Visconti was narrowly defeated by republican Florence, which reasserted the importance of republican values. Florence experienced a dramatic crisis of independence which led to civic values and humanism.

Against this we can say that Baron is comparing unlike things. In a technical sense, Baron has to prove that all civic humanist work came after 1402, whereas many such works date from the 1380s. This was an ideological battle between a princely state and a republican city-state, even though they varied little in their general philosophy. Any such monocausal argument is very likely to be wrong.

Kent says there is plenty of evidence of preconditions for the Renaissance in Florence.

In 1300, Florence had a civic culture, with people like Latini who had a sense of classical values, though different from the values of the 15th century. Villani also had a sense of the city as daughter and creature of Rome.

Petrarch in the mid-14th century hated civic life but bridged the gap between the 14th and 15th centuries as he began to collect antiquities.

The 1380s saw several classicising groups, including monks and citizens. There was a gradual build-up rather than a big bang. Apart from the elites there was already an audience for the Renaissance. Florence was a very literate audience, already self-conscious and aware of its city and place in the political landscape.

The crucial people in the 14th and 15th century were

Manuel Chrysoloras: increased interest in the grammar of ancient architecture (1395)

Niccoli: a major influence on the perception of the classics.

Their teachings reached the upper classes between 1410 and 1420 and this is when the new consciousness emerged. Brucker noticed this new consciousness in council debates around 1410; there are increased classical references.

Florence experienced not just one but many crises; Milan, Lucca, the Ciompi. The sense of crisis was over by 1415 and there was a new confidence, a triumphant experience of being a republic.

Between 1413-1423 there was an economic boom. The upper class had the financial means to support scholarship. Gombrich says there was a sense of ratifying yourself to the ancient world, leading to a snobbishness and an elite view of education, and a tendency for the rich wanting to proclaim their ascendancy over the poor and over other cities.

The early Renaissance was an act of collaboration. Artisans and artists were enmeshed in the networks of their city. Committees were usually responsible for buildings. There were collaborations between patricians and artisans without which the Renaissance could not have occurred. Thus it makes sense to adopt a civic theory of the Renaissance rather than a great man theory.

Northern Renaissance

Main article: Northern Renaissance

The Arnolfini Portrait, by Jan van Eyck, painted 1434

Townhall in PoznanThe Renaissance spread north out of Italy being adapted and modified as it moved. It first arrived in France, imported by King Francis I after his invasion of Italy. Francis imported Italian art and artists, including Leonardo Da Vinci and at great expense he built ornate palaces. Writers such as Rabelais also borrowed from the spirit of the Italian Renaissance.

Italians brought the new style to Poland and Hungary in the late 15th century. The first Italian humanist, who came to Poland in the middle 15th century was Filip Callimachus. Many Italian artists came with Bona Sforza of Milano to Poland, when she maried Zygmunt I of Poland in 1518. The Polish Renaissance is the most Itatian like branch of the Renaissance outside of Italy.

From France the spirit of the age spread to the Low Countries and Germany, and finally to England, Scandinavia, and Central Europe by the late 16th century. In these areas the Renaissance became closely linked to the turmoil of the Protestant Reformation and the art and writing of the German Renaissance frequently reflected this dispute.

While Renaissance ideas were moving north from Italy, there was a simultaneous spread southward of innovation, particularly in music. The music of the 15th century Burgundian School defined the beginning of the Renaissance in that art; and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of what was the first true international style in music since the standardization of Gregorian Chant in the 9th century. The culmination of the Netherlandish school was in the music of the Italian composer, Palestrina. At the end of the 16th century Italy again became a center of musical innovation, with the development of the polychoral style of the Venetian School, which spread northward into Germany around 1600.

In England, the Elizabethan era marked the beginning of the English Renaissance. It saw writers such as William Shakespeare, Christopher Marlowe, John Milton, and Edmund Spenser, as well as great artists, architects (such as Inigo Jones) and composers such as Thomas Tallis, John Taverner, and William Byrd.

In these northern nations the Renaissance would be built upon and supplanted by the thinkers of The Enlightenment in the seventeenth century.

谁能马上提供些关于英国文艺复兴的资料?英文版的最好

乌菲齐美术馆(意：Galleria degli Uffizi，英：The Uffizi Gallery),亦可译作乌非兹美术馆，是世界著名绘画艺术博物馆。在义大利佛罗伦斯市乌菲齐宫内。乌菲齐宫曾作过政务厅，政务厅的义大利文为uffizi，因此名为乌菲齐美术馆。

以收藏欧洲文艺复兴时期和其他各画派代表人物如达·文西、米开朗基罗、拉斐尔、波提切利、丁托列托、伦勃朗、鲁本斯、凡·代克等作品而驰名，并藏有古希腊、罗马的雕塑作品。而对于艺术爱好者来说，乌菲兹美术馆无疑是这座“鲜花之城”中的最为瑰丽的奇葩（“佛罗伦斯”在义大利语中的意思是“鲜花之城”）。

基本介绍中文名称：乌菲齐美术馆外文名称：英：The Uffizi Gallery意：Galleria degli Uffizi? 类别：博物馆地点：义大利佛罗伦斯市的乌菲齐宫内竣工时间：1560年开放时间：8：15-18：50，周一闭馆。馆藏精品：达·文西的《三王礼拜》，波提切利的《维纳斯的诞生》、《春》别名：乌非兹美术馆始建时间：1559年所属国家：义大利门票价格：13欧元（预约另加4欧元）建议游玩时长：3小时适宜游玩季节：秋天适宜。行前必读,景区介绍,关键信息,如何到达,美术馆简介,实用信息,内部藏品,藏品简介,名品介绍,其它藏品,国际合作,交通信息, 美术馆简介乌菲齐美术馆（义大利语：Galleria degli Uffizi）位于义大利佛罗伦斯市的乌菲齐宫内。该馆以收藏欧洲文艺复兴时期和其他各画派代表人物如达·文西、米开朗基罗、拉斐尔、波提切利、丁托列托、伦勃朗、鲁本斯、凡·代克等作品而驰名，并藏有古希腊、罗马的雕塑作品，素有“文艺复兴艺术宝库”之称。 美第奇家族 乌菲齐宫原是显赫一时的美第奇家族办公的地方，“乌菲齐（Uffizi）”一词即义大利文“办公厅”的意思。美第奇家族是大银行家，被称为佛罗伦斯“无冕王”，实际统治佛罗伦斯近3个世纪。这个家族从15 世纪到18世纪出了3位罗马教皇和两位法国皇后。 “风雨桥”与皮提宫 乌菲齐博物馆还建有一座阿诺河上的“风雨桥”，与美第奇家族居住的皮提宫相连。这座宫殿建筑十分豪华，现也已辟为画廊，收藏有拉斐尔、鲁本斯、凡戴克和佛朗西斯的一些杰作，在世界艺术博物馆中，也占有相当重要的地位。 博物馆的形成 这个被称为佛罗伦斯“无冕王”的贵族之家，却有爱好、扶植和保护文化艺术的优良传统。馆址为1559年建立的、G·瓦萨里设计的4层楼——乌菲齐宫，本身即为一幢文艺复兴建筑的杰作。后经几次改建。二、三百年间美第齐家族的成员把从各地蒐集来的艺术品集中到“乌菲齐”，从而形成了乌菲齐公共博物馆。1581年，美第奇家族收藏的艺术品对外开放。1765年正式对外开放，扩展原展室，展品中有L·达·文西的《博士来拜》、米开朗琪罗的《圣家族》、S·博蒂切利的《春》、提香的《乌尔比诺的维纳斯》、拉斐尔的自画像以及A·曼泰尼亚、科雷乔等大师的名作。20世纪初，建立了版画、素描馆，各类专室纷纷建立。 乌菲齐美术馆 有45间展厅，藏品10万件以上。其藏品之丰，就连1796年拿破仑远征义大利见到该馆的藏品时都垂涎三尺，只是由于它是公共财产，才未敢征收。后来只有“美第奇的维纳斯”雕像，被这位法国皇帝劫掠到“罗浮宫”，但在复辟时期又被送回。最后由美第奇的末代继承人安娜玛丽亚（Anna Maria Lodovica）捐赠给佛罗伦斯 *** 。实用信息 开放时间 周二至周日，08:30-19:00；每周一、1月1日，5月1日和12月25日关闭。售票处开放至18:05。内部藏品乌菲齐美术馆是世界著名的绘画艺术博物馆，位于义大利佛罗伦斯市的乌菲齐宫内。该馆以收藏大量的文艺复兴时期的绘画名作而蜚声国际，有“文艺复兴艺术宝库”“文艺复兴博物馆”之称。如今，乌菲齐美术馆共有46个画廊，分为三层，收藏着约10万件名画、雕塑、陶瓷等，是世界上规模最大、水平最高的艺术博物馆之一，大部分是13～18世纪义大利派、佛兰德斯派、德国及法国画派的绘画和雕刻。展品按时代顺序和流派陈列，从这里既可以看到义大利艺术发展的趋势，也可以概括地了解世界艺术、特别是绘画艺术的各种流派。 三博士的朝拜 藏品简介乌菲齐美术馆共有46个画廊，分为三层，收藏着约10万件名画、雕塑、陶瓷等。以美第奇家族历代收藏为主体，收藏有13～18世纪义大利派、佛兰德斯派、德国及法国画派的绘画名作。展品按时代顺序和流派陈列。 13世纪托斯卡纳派陈列室展出有契马布埃、乔托、杜乔·第·博尼塞纳的大幅绘画《圣母子》，给刚踏入博物馆的观众以强烈的感受。14世纪锡耶纳派陈列室有洛伦采蒂兄弟的数幅作品和S.马尔蒂尼的《圣告》等反映锡耶纳派绚丽多彩风格的作品。14 世纪佛罗伦斯派陈列室有G.da法布里亚诺、摩纳哥的洛伦佐修士等人的作品。15世纪佛罗伦斯派陈列室是最引人注目的陈列室,有 S.波提切利的大小20幅作品，其中的《维纳斯的诞生》和《春》两幅作品是他的成熟期巅峰之作。此外还展出有佛兰德斯派的H.梅姆灵、H.胡斯等人的说明与佛罗伦斯派之间的联系的作品、北方画家陈列室有 A.曼特尼亚、威尼斯派的 G.贝利尼、乔尔乔涅、柯勒乔等人的作品。莱奥纳多·达·文西的未完成的作品《三王礼拜》也陈列在这里。德国画家，则有A.丢勒、L.克拉纳赫等人的作品。文艺复兴后期陈列室展出有拉斐尔的《金翅雀的圣母》、米开朗琪罗的《圣家族》以及托斯卡纳派的马尼埃里斯特等作品。威尼斯派陈列室有提香、P．韦罗内塞、J.R.丁托列托等人的作品，其中以提香的《花神》最为杰出。此外，该馆还陈列有荷兰画家伦勃朗、P．P．鲁本斯等人的名画和18世纪威尼斯派作品。最后一个陈列室展出了各时代画家们的自画像。 金翅雀的圣母 镇馆之宝有：博尼塞纳的《圣母子》、马尔蒂尼的《圣告》、波提切利的《维纳斯的诞生》和《春》、达·文西的《三王礼拜》、拉斐尔的《金丝雀的圣母》、米开朗基罗的《圣家族》、提香的《花神》。名品介绍 1.《博士来拜》画作取材于圣经中耶稣诞生之时东方三博士前来朝拜的故事。在这幅未竟之作中，画家不再以叙事角度简单罗列有关人物，而以激烈对比的构图和形象表现显示艺术上的创新：圣母圣婴和三位博士形成三角形的稳定构图，周围的民众却以激动的手势环列左右，宛如人群组成的漩涡；背景上按精确的透视法画出的建筑遗迹和奔腾飞跃的马队也形成强烈的对照。在刻画前景人物、特别是围观的民众时，色调幽暗，让形象从阴影中闪出，一反15 世纪绘画明晰透露的特点，力求幽微含蓄，在艺术手法上形成他独创的烟雾状色调。因此，这幅画虽未完成，却表明达·文西的艺术探讨已大大超越同侪，预示文艺复兴风格的到来。 2.《乌尔比诺的维纳斯》《乌尔比诺的维纳斯》（作于1538年，119×165厘米）乌尔比诺的维纳斯的画中人，人们推测是当时的一位贵妇人，名叫艾列奥诺拉乌尔比诺夫人的肖像，所以她不是神，是追求资产阶级生活享乐的上层妇女形象。画家没有把这个女人画在大自然中，其艺术处理是十分大胆的。一个普通贵族的室内环境，华丽的床榻，女主人脚边的小狗以及远处正在翻弄衣箱的两个女仆和窗台上的盆花，所有这些细节说明，它是一幅风俗画，它可能是受委托而作。类似这种画在欧洲其他国家，大概要迟一个世纪，而在威尼斯，上层社会对绘画的感官享受已提到议事日程上了。此画与乔尔乔内的《睡着的维纳斯》极为相象，也是提香的创作处于最旺盛的年代的杰作。 维纳斯的诞生 其它藏品契马布耶（Cimabue）（ Maestà ）杜乔·第·博尼塞纳（Duio）（ Maestà ）乔托·迪·邦多纳（ The Ognissanti Madonna , Badia Polyptych ）马提尼（Simone Martini）（ The Annunciation ）乌切洛（ The Battle of San Romano ）法兰契斯卡（Piero della Francesca）（ Diptych of Duke Federico da Montefeltroand Duchess Battista Sforzaof Urbino ）飞利浦黎皮（Fra Filippo Lippi）（《圣母与圣婴及两位天使》 Madonna with Child and Two Angels ）安德烈·德尔·委罗基奥（ The Bapti *** of Christ ）胡斯（Hugo van der Goes）（ The Portinari Triptych）桑德罗·波提切利（《春》、《维纳斯的诞生》、《三博士来朝》）列奥那多·达文西（《受胎告知》、《三博士来朝》）科西莫的彼埃罗（Piero di Cosimo）（ Perseus liberating Andromeda ）阿尔布雷希特·丢勒（ The Adoration of the Magi ）米开朗基罗（ The Doni Tondo）拉斐尔（ Madonna of the Goldfinch 、 Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi ）提香（ Flora 、《乌尔比诺的维纳斯》）帕米贾尼诺（Parmigianino）（长脖子的圣母玛利亚》 The Madonna of the Long Neck ）卡拉瓦乔（ Bahus 、 The Sacrifice of Isaac 、 Medusa ）国际合作 乌菲齐博物馆虚拟画展上海美术馆开幕 大师们的绘画杰作，一定要在博物馆中看真迹原件吗？如果条件许可，当然是的。至少出现了一种新的观看方式，值得体验。昨天下午，义大利乌菲齐博物馆虚拟画展在上海美术馆开幕。这是世界上首次以“虚拟之旅”的形式，展示乌菲齐博物馆的全部展品。 “观赏者在浏览时，经由一个个完美聚焦放大的画面呈现，直到发现最微小的细节：无论是无法捉摸的透明面纱、朦胧风景中的薄雾、甚至轮廓线或光线用的金箔等等。不但能发觉即使是原作当前也难以观察的细处，还会有意外的惊喜与发现。”佛罗伦斯市历史艺术人类遗产与博物馆管理局局长、展览策划人Cristina Acidini的这番话，是对观展体验的最好诠释。乌菲齐博物馆是一座不折不扣的宝库，1581年由著名的义大利美第奇家族所创建。作为西方现代博物馆的发源地，它与罗浮宫、大英博物馆并称世界三大艺术博物馆。馆内设定有波提切利、达·文西、拉斐尔、米开朗琪罗、提香、鲁本斯等西方艺术大师专题陈列室。对于中国的观众来说，唯一的问题是佛罗伦斯过于遥远。而这些大师的真迹也少有机会来中国展出。由于高昂的保险费用和严密的安全措施，顶多只会有一小部分作品偶尔能来中国和我们见面。并且，还被红绳子隔开很远。那样的展览形式，对于观众来说，更像是一次膜拜而不是细细观看。问题得到了解决。乌菲齐博物馆内所有作品，都被前所未有的创新技术融合在同一台机器中。这台被称为“可触摸的乌菲齐”的机器，贮存了乌菲齐馆藏的全部作品影像，在超过1100件藏品中，包括了100多件乌菲齐博物馆从未展出过的藏品。而且，图像的解析度高达4000万到1.5亿像素。观众只需轻轻点击，就可以近距离观赏这些无价之宝，并能够无限放大、翻转这些名作。除了这台收录齐全的机器外，乌菲齐博物馆所藏作品中最重要的9幅作品分别用9台单独的机器，同样通过触摸的方式展出，包括达·文西的《圣母领报》、米开朗琪罗的《圣家庭》、拉斐尔的《金莺圣母》、卡拉瓦乔的《酒神》等传世名作。从观众的角度来说，从远观、浏览到近看、赏析，这个变化将带来足够的惊喜。而从艺术珍品的保护角度而言，这也不亚于一场革命。年代久远的油画作品，对于温度、湿度和空气成分的敏感程度相当之高，满足观众和保护艺术品一向是个两难命题。数位化时代的技术，似乎已经提供了一种解决问题的方案。事实上，世界上主要的博物馆和美术馆，都已经开始启动将藏品数位化储存的进程。让真品休息一下，我们还可以看“拟真”的影像。虽然面对原作依然是参观美术馆和博物馆的不二之选，但“可触摸的乌菲齐”这样的设备不失为次优之选。 “文艺复兴艺术宝库”首次来京办大展 有着“文艺复兴艺术宝库”之称的义大利乌菲齐博物馆将在京打开其宝库之门。昨日记者从中央美院美术馆获悉，“义大利乌菲齐博物馆珍藏展：十五世纪——二十世纪”展将于亮相中央美院美术馆。包括波提切利、丁托列托和提香在内的艺术大师的画作共82幅将展现西方500年的绘画脉络，其中波提切利的封笔之作《三博士来朝》也将首度在京展出。据悉，本次展览将展至6月5日。昨日记者获悉，“义大利乌菲齐博物馆珍藏展：十五世纪——二十世纪”展北京站已经确定于3月12日开展，届时馆藏的82幅精品将让观众一览义大利文艺复兴时期的绘画魅力。据介绍，此次展览是乌菲齐博物馆首次来京办大规模展览。乌菲齐博物馆馆长安东尼奥·纳塔利（Antonio Natali）是此次中国巡回展的策划人，他指出举办此次展览是为了传播和增进人们对义大利艺术及欧洲艺术的了解。为此，展览集中优选了三个类型的绘画：风景画、静物画和肖像画。对此，中央美院美术馆的该展览负责人高高告诉记者，此次展览将按这三大类型进行展陈，让观众看到西方绘画中这三种基本类型绵延500年的历史脉络。乌菲齐博物馆以收藏文艺复兴时期的绘画名作而蜚声国际，有“文艺复兴艺术宝库”之称。尽管此次该馆的镇馆之宝提香的《花神》不能到北京来，但观众依然能在展览中看到文艺复兴早期佛罗伦斯画派大师波提切利、文艺复兴鼎盛时期威尼斯画派大师丁托列托和提香的名作。据介绍，波提切利创作于1500年至1510年的《三博士来朝》将是展览的最大看点，由于其创作于波提切利去世前夕，被认为是其封笔之作。而这幅画作也是波提切利少有的多人物作品，画作表现的是三位来自东方的博士到圣母面前庆祝圣灵诞生的情景。此外，丁托列托的《丽达与天鹅》、提香的《维纳斯与丘比特、狗和鹌鹑》也是此次展览的亮点。 乌菲齐博物馆珍藏展在湖南省博物馆隆重开幕 “义大利乌菲齐博物馆珍藏展：15世纪—20世纪”在湖南省博物馆隆重开幕。值中意两国建交40周年之际，由义大利乌菲齐博物馆与湖南省博物馆共同主办，中意博联（北京）国际文化传播有限公司、义大利佛罗伦斯Contemporanea Progetti Srl公司承办，义大利文化遗产部、义大利驻华大使馆、佛罗伦斯历史、艺术与民间文物及博物馆署机构共同推动和组织的“义大利乌菲齐博物馆珍藏展：15世纪-20世纪”于11月29日晚，在湖南省博物馆新陈列大楼一楼隆重开幕。此次展览精选了82件反映乌菲齐博物馆藏品特色的作品，分为“风景画”、“静物画”、“肖像画”三个部分，以时代为序，比较完整地反映了乌菲齐博物馆的绘画收藏体系，同时也呈现了义大利现代艺术演变过程。展品中包括文艺复兴早期佛罗伦斯画派大师波提切利、文艺复兴盛期威尼斯画派大师丁托列托和提香的画作，以及众多十六至二十世纪中叶义大利画家的重要作品，同时还有部分十七世纪荷兰风景画家以及十八、十九世纪法国和德国艺术家的肖像与风景作品。据介绍，义大利乌菲齐博物馆自建成以后，博物馆自建成以后，仅在美国和西班牙展出过，而且只展出40多幅作品。此次来中国巡回展，展品数量之多在乌菲齐博物馆借展历史上十分罕见，且仅在中国五个城市先后举行，长沙是继上海、湖北后的第三站。展览将从2010年11月30日持续至2011年2月27日，给长沙观众创造了一次在家门口欣赏大师作品的绝好机会。交通信息公车

搭乘公交C3，在Ponte Vehio（旧桥）站下车后，往东走约5分钟即达。

步行

从佛罗伦斯火车站出发，可以沿着Via dei Panzani大街往南走，然后左转入Via dei Vehietti大街直走约500米后会直接走到Via dei Sassetti街，继续往前走到尽头左转，直走200米左右进入Vin Calimala街，此时左转，往东南方向再步行200米左右即达，整体步行时间约15分钟左右（乌菲兹名声在外，大可以跟着人群方向而行喔）。

Renaissance

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Renaissance

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