1.1 三博士来朝
桑德罗•菲利佩皮，著称波提切利（佛罗伦萨，1445～1510），及十八世纪画家 1500～1510年板面蛋彩画, 部分着色于十八世纪乌菲齐博物馆藏
SANDRO FILIPEPI, CALLED BOTTICELLI (FLORENCE 1445 - 1510) AND 18TH CENTURY PAINTER The Adoration of the Magi 1500 - 1510 Tempera on panel, partially colored in the 18th century Uffizi Gallery
此画的主场景构框是由一些巨大的岩石堆衬托而成。沿景观向后继续延伸，可以看到在明亮的天空下，广阔的丘陵地带渐渐消失于远方的地平线上。其间，可瞥见巨大的、防御坚固的耶路撒冷城墙。那些络绎不绝从四面八方奔走而至的形形色色的人们云集在三位圣贤之士的周围，朝拜神的化身的婴儿（耶稣）。据圣经记载，画中三圣贤跪在为了拯救世界而降生的圣婴之前膜拜。此画是波提切利在他生命的最后期间所创作，但鉴于一些未知的原因，他未能真正完成此画的着色。可能至十八世纪时，才被他人沿袭着这位十五世纪伟大画家的创意和构思，添加了部分色彩。即便如此，在这幅波提切利临终前的最后的作品之中，我们仍可明辨其细腻而且极富表现力的特征。
Beyond the colossal rock formations that frame the main scene, stretching out beneath a luminous sky is a vast landscape with hills on the horizon, in which can be glimpsed the walls of a large, fortified city, Jerusalem. Along the road coming from these regions advances a great multitude of men in the most varied of attitudes, hastening to adore Jesus, following the entourage of the Magi. The three wise men, who according to the sacred texts, came to adore him, are in fact shown kneeling in the foreground before the infant, at once human and divine, who was to save the world. The painting was executed by Botticelli in the last years of his life, but for reasons unknown was never completed. This is why, possibly in the eighteenth century, an attempt was made to complete it, adding the colour while following the design of the great fifteenth-century master. However, since this operation too was left unfinished, we can still recognise the minute and expressive touch characteristic of Botticelli’s last works.
1.2 维纳斯和丘比特、狗及鹌鹑
提齐亚诺•维切利奥，著称提香（皮叶维-迪卡多列，1488～1490～威尼斯，1576）约1550年布面油画乌菲齐博物馆藏
TIZIANO VECELLIO, BETTER KNOWN AS TITIAN (PIEVE DI CADORE, PROBABLY BETWEEN 1488 AND 1490 - VENICE 1576) Venus and Cupid, Dog and a Partridge c. 1550 Oil on canvas Uffizi Gallery
绚丽的女神维纳斯，佩戴着珍贵的珠宝，裸体侧卧，背后有爱神丘比特与其相抚拥。画面上还有一只象征忠诚的狗和一只鹌鹑，用以暗示贪婪的欲望和多生多育。画中人物的构图安排，似乎来源于米开朗基罗（Michelangelo）于1532年～1533年间创作的形象画“维纳斯与丘比特”的创意。可能提香于1545年间在罗马时见过该画，也可能是间接从瓦萨里（Giorgio Vasari，1511-1574，意大利画家，建筑师和作家）的临摹品那里对该画得以领略。瓦萨里于十六世纪四十年代早期，曾为那些专门从事征订绘画的威尼斯富豪们临摹一些原作。我们也应考虑，米开朗基罗的创作也可能参照了他于1529年间在威尼斯短暂旅居时，曾研究过的其它类似版本。事实上在威尼斯绘画界中，最卓越的还是由乔尔乔涅(Giorgione)在年轻的提香协助下所创作的经典之作《入睡的维纳斯》。此画是众多威尼斯艺术家以侧卧女神为主题的作品系列的一部分。其中也包括那幅于1538年创作的名画《乌尔比诺的维纳斯》，该画现也收藏于乌菲齐博物馆。
1.6 草地上的野餐
菲利普•德•安杰利，又名菲利普•纳波利塔诺（罗马? 1589?～1629） 1619年布面油画乌菲齐博物馆藏
FILIPPO D’ANGELI, CALLED FILIPPO NAPOLETANO (ROME? 1589? - 1629) Picnic on the Grass 1619 Oil on canvas Uffizi Gallery
这幅画与《乡村舞会》都是为了装饰碧提宫中的公爵寓所而订制的。在这幅画中明显可见画家用以表现风景画的技法，类似“意大利化”北方派画家们的技法。灰绿色颜料和蓝色的基调使人联想到古罗马艺术家阿戈斯蒂诺•塔西（Agostino Tassi），因此，一度曾被误认为是塔西所作。这幅画对大自然的精确描述，林地中的栩栩如生、惟妙惟肖的变化和一群飞向浩瀚天空的鸟儿；近前，画家用较小的场景生动地描绘出草地上的野餐以及野餐所用的器皿和食物。这样的技法使人联想到雅克•卡洛（Jacques Callot）的素描速写画，以及由“班博西昂塔”(Bamboccianti)画派的技法。（见展品《乡下的沐浴风情》和《厄米尼娅与牧人相伴》）
The canvas was delivered to Grand Duke Cosimo II de’ Medici a year after the completion of Country Gathering; both of the unusually large paintings were intended to decorate the ducal apartment in Palazzo Pitti. The artist’s Roman training can be seen in his approach to landscape painting analogous to that of the “Italianized” Northern painters; the palette of greygreen and blue tones recalls instead the works of the Roman artist, Agostino Tassi, to whom the painting was long attributed. The scientific precision in the description of nature recreates a microcosm of movement along the riverside animated by variegated patches of woodland and a flock of birds flying through the distant reaches of a vast sky. Small figures act out the lively scene of a picnic on the grass with their crockery and victuals visible in the foreground in a manner that recalls the pen sketches of Jacques Callot and precedes by a few years the popular scenes of everyday life painted by the group of artists known as the “Bamboccianti”
1.18 隐士
安东•弗朗西斯科•佩鲁兹尼（安科纳，1646或1647～米兰，1724）和亚历山大•马尼亚斯科（热那亚，1667～1749）约1703～1704年布面油画乌菲齐博物馆藏
ANTON FRANCESCO PERUZZINI (ANCONA 1646/1647 - MILAN 1724) WITH ALESSANDRO MAGNASCO (GENOA 1667 - 1749) Landscape with Hermits c. 1703 -1704 Oil on canvas Uffizi Gallery
本画与另一幅同名画，连同它们的两位作者的参考资料，均列入了梅迪奇家族费尔迪南多大公的1723年收藏品财产清册。费尔迪南多大公酷爱那些不拘谨笔法的绘画。这类近乎威尼斯画派的绘画，早期曾出现在佛罗伦萨的藏品中，当时的人们认为，只要掌握这种绘画技法，就能获得成功。根据1703年之后的意大利托斯卡纳区官方记载，这一对同名为《隐士》的画是两位艺术家成功合作的完美典范。两幅《隐士》画的完美合作显现了风景画的进步和艺术创新，两类艺术大师在风景画中的两种不同的笔锋风格的巧妙融合尽显其中：一种风格是佩鲁兹尼的即兴自由发挥的艺术手法及特征；另一种是时人所公认的马尼亚斯科的大胆的、火焰般豪情的标志性风格。
This and the following painting (cat. no. 1.19) are listed with references to both authors in the 1723 inventory of the collection of the Grand Prince Ferdinando de’ Medici whose passion for paintings characterized by a freedom in brushwork akin to the Venetians explains the early presence in the Florentine collections of landscapes by artists, certain of future success, who represented this new trend in taste. This pair of Landscapes with Hermits is a perfect example of the two artists’ collaboration, recorded in Tuscany after 1703. It shows progressive and virtuoso disintegration of material solidity in the landscape intended as a free excercise characteristic of Peruzzini and the “bold” and “highly spirited” flamelike figures that contemporaries already recognized as the signature style of Magnasco.
1.20 瀑布风景
克劳德•约瑟夫•韦尔纳（阿维尼翁，1714～巴黎 1789） 1743～1748年布面油画乌菲齐博物馆藏
CLAUDE JOSEPH VERNET (AVIGNON 1714 - PARIS 1789) Landscape with Waterfall 1743 - 1748 Oil on canvas Uffizi Gallery
这幅画描绘了一片浓密森林中的特色情景：巨大的瀑布从那可望不可及的陡峭的石崖峭壁上泻落而下。有四位主要的人物在瀑布前面惶惑不安地等待着什么。在他们的附近，站着一位衣衫褴褛的可怜的贫苦妇人，手持一根自制的渔杆，手臂上还挎着一个柳条篮子。1801年，这幅画与其姐妹篇，一幅描绘风暴中海上遇难船只的画，被同时购得，那幅画是法国画家韦尔纳画的许多海景画之中的一幅，克劳德被认为是当时的主要风景画家之一。他曾长期居于罗马，有机会向艺术大师萨尔瓦多•罗萨（1615～1673）学习，克劳德最后于1753年回到法国。本画应该是他在罗马旅居时的最后阶段所画。
The painting represents a dense woodland, characterised by inaccessible and precipitous, rocky cliffs from which a large cascade of water falls into a flat space underneath, in front of which the four main figures are fearfully waiting. Standing nearby, a lady in poor, worn-out, purple clothes is holding a handmade fishing rod and under her arm, a wicker basket. The work was bought, together with its companion piece that depicts a shipwreck in stormy seas, in 1801. It is one of the many seascapes produced by French painter Claude Joseph Vernet, considered to be one of the main landscape artists of his time. He remained for a long time in Rome with the opportunity to study with the great master, Salvator Rosa (1615-1673). The proposed date of the work suggests that it was done towards the end of the painter’s sojourn in Rome, who finally returned to France in 1753.
1.24 亚诺河圣三位一体桥风光
文森佐•托雷贾尼（布得里欧，1732年前～博洛尼亚，1782年后）约1750年布面油画乌菲齐博物馆藏
VINCENZO TORREGGIANI (BUDRIO, ANTE 1732 - BOLOGNA, POST 1782) View of the Arno with the Santa Trinita Bridge c. 1750 Oil on canvas Uffizi Gallery
1744年，朱塞佩•佐奇雕刻了“佛罗伦萨风光”的系列雕刻艺术品。其中包括这幅画里所显现的，从阿诺河（Arno）彼岸的奥尔特拉诺(Oltrarno)看到的圣三位一体桥的壮观景色的雕品，使这一壮观的风光在十八世纪至十九世纪时名声高扬。该系列风景画也有佐奇的手绘版本，是以“著名的卡纳莱托方式”绘制的。另外还有几个雕刻版本的制品，它们与居住在佛罗伦萨的盎格鲁-撒克逊人的群体有关，其中包括两位英国人，贺拉斯•曼（Horace Mann）和画家托马斯•帕奇（Thomas Patch）及他们的朋友。因此这幅画曾一度被认为是他们所画。现在这幅画已被确认是波伦亚画派的画家托雷贾尼在他旅居佛罗伦萨时所画。当时他曾依据佐奇雕刻品的透视画法的蓝图创作了多幅绘画。
The great popularity in the 18th and 19th centuries of the view of the bridge of Santa Trinita, seen from the Oltrarno neighbourhood, was due to its inclusion in the famous series of views of Florence engraved by Giuseppe Zocchi and published in 1744. There were also some painted versions of the series, by Zocchi’s hand as well, “in the manner of the famous Canaletto”. Dependant on the engravings are the numerous pictorial versions dating to the second half of the 18th century, closely linked to the Anglo-saxon community resident in Florence, and in particular to two Englishmen and friends living in Via Santo Spirito di là (on the other side) of the Arno, Horace Mann and the painter Thomas Patch, to whom this view was previously attributed. The author is instead now recognized as the Bolognese painter Torreggiani, who sojourned briefly in Florence executing numerous paintings based on the perspectival blueprint of Zocchi’s engravings.
2.1 莱达与天鹅
雅科波•科敏，别名罗巴斯蒂，又名丁托列托（1518或1519～威尼斯，1594）约1551年布面油画乌菲齐博物馆藏
JACOPO COMIN ALIAS ROBUSTI CALLED TINTORETTO (1518 or 1519 - VENICE 1594) Leda and the Swan c. 1551 Oil on canvas Uffizi Gallery
根据古希腊神话故事，众神之父宙斯爱上了斯巴达国的王后莱达，他变成一只天鹅去引诱她。亲近过后不久，莱达产下两个双黄蛋，孵出两男两女：双子卡斯托耳（Castor）和波卢克斯(Pollux)及他们的妹妹双女海伦及克吕泰涅斯特拉（Helen and Clytemnestra）。在本画中，画家丁托列托选择了描绘在发生交合之前的情景，在画面的中间，狡猾的宙斯摆出极其性感的姿态向王后求爱。按文艺复兴绘画的惯例，画中的各元素都要烘托人体主角。本画中艺术家的构图的重点就是美化莱达的身体曲线，因此他不惜用过分慷慨的大幅的天鹅绒来衬托莱达的身体曲线；还用天鹅的长长的弯曲的脖子来影射诗意的表白；用快提而有力的笔法使红色的幔帐更具渲染的效果，来衬托那面色的苍白。
According to ancient Greek mythology, Zeus, the father of the gods became enamoured of Leda, Queen of Sparta, and transformed himself into a swan to seduce her. Following this union, from two pairs of eggs, the male twins, Castor and Pollux, were born and their sisters, Helen and Clytemnestra. In this painting, Tintoretto chose to depict the moment prior to the sexual union, as the wily Zeus is courting the queen, positioned in the centre of the painting in an extremely sensual pose. As is frequently the case in Renaissance paintings, each element present is subordinated to the dominant role of the human body, masterfully conceived by the artist to enhance the contours of Leda. Thus the lavish velvet fabrics are arranged so as to echo the curves of her body, with a poetic dialogue set up also with the long, supple neck of the swan. Similarly, the colour of the red drapery, rendered with rapid and vigorous brushstrokes regardless of analytic precision, is designed to set off the delicate pallor of the flesh.
2.2 浮华的寓意
安东尼奥•德•佩雷达（巴利亚多利徳，1611～马德里，1678） 1660～1670年布面油画乌菲齐博物馆藏
ANTONIO DE PEREDA (VALLADOLID 1611 - MADRID 1678) Allegory of the Vanities 1660 - 1670 Oil on canvas Uffizi Gallery
这幅巨画可能创作于西班牙菲利普四世的统治时期（1605～1665），画家用技能高超、学识渊博的构图方式，通过一系列象征性的物品，暗示了看破尘世虚荣后的醒悟。画面的左侧是几个阴森森的骷髅，象征着生命的短暂；一些盔甲的碎片，象征着武力的瞬态；还有一箱珠宝、一些钱币和扑克牌散放在铺着华丽的红色桌布的桌上，含蓄地映射着人世间的财富也不过是匆匆过往的身外之物。画面上最冠冕堂皇的物品，就是那花瓶和并排的地球仪，象征着皇家权势。这幅画的复杂寓意最后终结在左侧的那副“世界末日的大审判”的画中。
The painting, of large dimensions, probably executed under the reign of Philip IV of Spain (1605-1665), addresses a theme with which the artist was particularly familiar. Constructed in a skilful and erudite manner, it portrays the disenchantment and vanity of mortal life through an array of symbolic objects. Set upon the surface at the left, of a sepulchral simplicity, are several skulls, emblematic of the transitory nature of existence and some fragments of armour, evoking the transience of the force of weapons. A casket of jewels, numerous coins and playing cards are spread upon a table covered in a magnificent red cloth, and probably allude to the fleeting nature of worldly wealth. Crowning the entire composition is a vase of cut flowers, an ulterior memento mori juxtaposed to the terrestrial globe, emblematic of royal power. The complex symbolism of the painting is completed, on the left, by a sort of painting within the painting portraying a “Last Judgement”.
2.6 贝壳
朱塞佩•鲁欧波罗（那不勒斯，1630～1710）约1670～1690年布面油画乌菲齐博物馆藏
GIUSEPPE RUOPPOLO (NAPLES 1630? - 1710) Still Life with Shells c. 1670 - 1690 Oil on canvas Uffizi Gallery
这幅画是这位那不勒斯艺术家的绘画规范的代表作。它绘出了特色各异的多种静物：花、水果、蔬菜、蘑菇、软体动物、鱼和位于中间的一只贝壳，这只贝壳给整幅作品起到画龙点睛的效果。画的正中则被两个已经切开、即可食用的海胆。另一个亮点是贝壳旁边的两条鱼，其中一条好像是海鲤。这幅“图说分明”的画也表露朱塞佩缅怀在他叔叔乔万尼•巴蒂斯塔•鲁欧波罗（Giovan Battista Ruoppolo，1626-1693）画室学徒期间的难以报答的恩情。在那个阶段，他也受到以著名画家朱塞佩•雷科（Giuseppe Recco）（展品《鱼》的作者）为首的那不勒斯艺术家们的深刻影响。
The painting very plausibly epitomises the pictorial canons of this Neapolitan artist, illustrating the various typical characteristics of the still life: flowers, fruit, vegetables, mushrooms, molluscs, fish, and in the centre, a shell placed to sumptuously enrich and define the entire composition. All the elements are gathered in the foreground, but the symbolic centre of the painting is occupied by two sea urchins, cut in half ready to be eaten. Another captivating aspect is represented by the two iridescent fish, one of them apparently a sea bream, set to the right of the shell. The painting illustrates the artistic debt that the Neapolitan artist probably accumulated during his apprenticeship in the workshop of his uncle Giovan Battista Ruoppolo (1626-1693), while also undoubtedly encapsulating the influence of the artists who were active in Naples in the second half of the seventeenth century, foremost among them the famous Giuseppe Recco.
2.16 花瓶
十七世纪下半叶佚名画家十七世纪末 布面油画乌菲齐博物馆藏
PAINTER OF THE SECOND HALF OF THE 17TH CENTURY Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery
一只厚身水晶花瓶陈放在石座之上，位于画面正中央，无名画家构想出一束缤纷艳丽的鲜花，其中大多数已在瓶中吐蕊绽放，我们似乎感受到玫瑰、康乃馨、郁金香、鸢尾花和铃兰的幽幽芬芳。作品采用中央视角的构图，洋溢着高贵端庄的气息，花朵交错掩映，花冠垂下枝头，这份脆弱的欣喜，更增添了画面亲切之感。在色彩选择方面，粉红、蓝色和紫色等冷色，缀以橙色、红色等暖色，使整体色彩达到平衡和谐。作品中两朵橙色花从枝头飘落，悠悠舞向地面。晶莹的水滴从壶中滴落而下，沿着大理石架边缘细细流淌。
Standing upon a stone pedestal and set precisely in the centre of the painting is a full-bodied crystal vase in which the anonymous artist has imagined a luxuriant bunch of flowers, mostly already in full-flower, in which we can recognise roses, carnations, tulips, iris and lilies-of-the-valley. The central perspective of the composition gives the painting a noble monumentality, rendered more gracious by the fragile triumph of the flowers that entwine with each other, drooping beneath the weight of the corollas. The selection of colours, in which the cold tones of pink, blue and violet are interspersed with the warmer shades of orange and red, contributes to make this painting a small masterpiece of chromatic balance. The work also features fine proof of illusionistic virtuosity in the shape of the two orange flowers that have become detached from the bunch and are falling towards the ground, and the drops of water dripping from the jug and trickling along the edge of the marble shelf.
2.20 花瓶
安德烈•斯卡恰蒂（佛罗伦萨，1644～1710）十七世纪末 布面油画乌菲齐博物馆藏
ANDREA SCACCIATI (FLORENCE 1644 - 1710) Vase of Flowers 17th cent., end Oil on canvas Uffizi Gallery
这幅作品非常出色，展现了斯卡恰蒂最喜爱的画面构图，这只花瓶宛如一位观者静立于色彩缤纷的花卉庆典中。一束鲜花插在装饰花瓶中，陈放在光滑而简约的平面上，这与姹紫嫣红的花团形成鲜明的对比，形成视觉上的冲击。展颜怒放的郁金香、玫瑰和康乃馨便是众人目光的焦点，她们早已不再含苞待放，即将临近所有切花的共同归宿。它令人联想起美丽易逝，人生短暂。此外，作品也流露出自然元素，左下方一枝黄色郁金香露出桌面，似乎将从瓶身滑出。1865年，这幅作品与费罗尼收藏品一起被乌菲齐博物馆珍藏。
A very beautiful painting illustrating one of Scacciati’s favourite types of pictorial composition, this vase of flowers offers itself to the observer like a colourful celebration of a rich and heterogeneous group of species. The bunch of flowers is gathered in a decorated vase set upon a smooth and simple surface that contrasts with the opulence and colours of the flowers that completely invade the scene of the painting. The gaze is captivated by a jubilation of tulips, roses and carnations that are no longer buds, but are already fully open, and fast approaching the fate common to all cut flowers. It is a sort of sumptuous vanitas that reminds us of the ephemeral nature of beauty and the transience of earthly life. Furthermore, the painting also reveals an element of naturalistic intention that surprises the observer in the illusion of the yellow tulip at the lower left which protrudes beyond the surface of the table almost as if it is falling out of the vase. The painting entered the Uffizi in 1865 along with the Feroni Collection.
2.25 土耳其兵器
巴托洛梅奥•宾比（塞蒂尼亚诺，1648～佛罗伦萨，1723）约1700年布面油画乌菲齐博物馆藏
BARTOLOMEO BIMBI (SETTIGNANO 1648 - FLORENCE 1723) Turkish Arms c. 1700 Oil on canvas Uffizi Gallery
这幅画是费尔迪南多亲王委托宾比创作的，亲王对他的模仿天赋十分熟悉，要求宾比用两幅大型油画，描绘梅迪奇保存在乌菲齐博物馆几间房内的军械库中的土耳其兵器，大公家族没落后，大部分兵器已经流失，唯一幸存的是这一组画作。此画描绘了覆盖了一条东方桌毯的桌子上一堆吐射着寒光的手枪、火枪、短弯刀、匕首和马具，以及珍贵的丝绸面料，它们似乎是从一场惊心动魄的战争中缴获的战利品。从这些精心描绘的刀枪、面料光泽中可以看出画家精湛的绘画技巧，画面保存着不变的魅力，展现了他不同寻常的品味与异国情调的物品。
This painting was commissioned from Bimbi by Prince Ferdinando who, being acquainted with his gifts of imitation, asked him to portray in two large canvasses the Turkish weapons from the Medici armoury which were conserved in several rooms annexed to the Uffizi Gallery, and which were largely lost after the grand ducal family died out. In the only surviving painting of the pair, the artist portrays – posed upon a table covered with an oriental carpet – a glittering pile of pistols, muskets, scimitars, daggers, horses’ harness and precious silk fabrics, as if they were the booty of some fantastic battle. The result is an extraordinary proof of pictorial virtuosity in which the objects and the fabrics acquire a precious lustre, conserving unaltered the enthralling captivation they must have exerted in the imagination of this sophisticated patron and illustrating his taste for unusual and exotic objects.
3.1 男孩肖像
（传）洛伦佐•迪•库若迪（佛罗伦萨，约1459～1537）十五世纪末 画板油画乌菲齐博物馆藏
LORENZO DI CREDI (FLORENCE c. 1459 - 1537), attr. to Portrait of a Young Boy 15th cent., end Oil on panel Uffizi Gallery
朦胧的深色背景下，透出一缕微弱的亮光，衬映出一个男孩的肖像，他戴红帽，穿朴素的棕色长袍，神情专注，若有所思。这件作品过去认为是马萨乔的作品，在1675年的目录清单中曾有所描述。该绘画以皮耶罗•迪•科西莫(Piero di Cosimo)之名展出。随后，被正式认定为洛伦佐•迪•库若迪的作品，他是委罗基奥(Andrea del Verrocchio)的学生和追随者，也是达•芬奇和佩鲁吉诺(Perugino)的同学。作品断代为1490年之后。画家赋予没有采用传统模式的板画肖像画，这往往受限于赞助人的苛刻期望。他摒弃了笔直的站姿，而将人物设定为头部自然倾斜，同时减少凝滞姿态，这样体现了人物独特的洞察力，并使形态更具流畅性。
Standing out against an indefinite dark background, just faintly lit by a weak light, is the portrait of a youth wearing a red hat and a simple brown gown, his face marked by a concentrated and thoughtful expression. The work appears to correspond to a painting originating from the estate of Cardinal Leopoldo de’ Medici, attributed in the past to Masaccio and described in the inventory of 1675. It was displayed in the Sala di Prometeo in the Palazzo Pitti and later transferred to the Uffizi in 1861 when some of the rooms in the Gallery were closed to the public, being displayed as a work by Piero di Cosimo. Subsequently it was re-attributed to the pictorial production of Lorenzo di Credi, pupil and follower of Andrea del Verrocchio and study companion of Leonardo da Vinci and Perugino. It was part of a series of portraits, datable after 1490, in which the artist – freer here than in the panel portraits of traditional format bound by the expectations of demanding patrons – arranges his sitters no longer in an erect posture, but with the head tilted in various more natural and less static positions, endowing them with particular insight and fluidity of attitude.
3.8 男子肖像
（传）米歇尔•托西尼，又名米歇尔•德•基兰达约（佛罗伦萨，1503～1577）约1545年画板油画乌菲齐博物馆藏
MICHELE TOSINI, CALLED MICHELE DI RIDOLFO DEL GHIRLANDAIO (FLORENCE 1503～1577), attr. to Portrait of a Man c. 1545 Oil on panel Uffizi Gallery
棚木镶板，光滑的壁柱垂直进行分割，这便构成了这幅肖像的背景。画中架子覆盖着皮革，上面摆放着一只墨水瓶，几张封口的信笺和一本笔记本。这更像是中产阶级家庭的写字台，而不是学者的书房。此前，人们认为此画是弗朗西斯•萨尔维亚蒂(Francesco Salviati，1510-1563）或弗朗西斯•布里纳(Francesco Brina)的作品，而米歇尔•托西尼的作品常令人联想起僵硬的姿势，圆胖的手和手指几乎没有任何握力，因此认为是米歇尔•托西尼的作品才更有说服力。画作修整后再次揭示了画面原有的着色，展现了珠宝的精致细节，以及胡须、金发的微妙处理。遗憾是桌上的信封没有清晰写明地址，那可是有助于确认年轻男子身份的重要线索。
Hinged onto the wooden panelling, divided vertically by smooth pilaster strips that forms the background to this portrait, is a leather-covered shelf, on which are arranged an inkstand, some sealed letters and a notebook. Consequently it is more likely to represent a writing-table in a bourgeois residence rather than the study of a scholar, where we would also expect to find books. Previously attributed to Francesco Salviati (1510-1563), the painting has recently been connected with Francesco Brina and, more persuasively attributed to Michele Tosini, whose work is evoked recalled in the stiffness of the pose and the rounded hands and fingers, almost without grip. Restoration has brought to light again the original colouring, the refined details of the jewels and the delicate treatment of the beard and blond hair, although it did not render legible the addresses on the letters set upon the desk that could have provided precious valuable clues to the identity of the young man.
3.10 法国王后
玛丽亚•德•梅迪奇肖像（佛罗伦萨，1573～科隆，1642）乔万尼•利奥纳尔多•亨纳（1617～1641活跃于佛罗伦萨） 1628年布面油画乌菲齐博物馆藏
GIOVANNI LIONARDO HENNER (ACTIVE IN FLORENCE BETWEEN 1617-1641) Portrait of Maria de’Medici, Queen of France (Florence 1573 - Cologne 1642) 1628 Oil on canvas Uffizi Gallery
这幅画被认为是由弗兰斯•普布斯(Frans Pourbus)保藏于佛罗伦萨的玛丽亚•德•梅迪奇(Maria de’Medici)的两幅画像中的原版作品之一。作者乔万尼•利奥纳尔多•亨纳是乔万尼•碧利沃特(Giovanni Bilivert)的门生。画中人物便是托斯卡纳大公爵弗朗切斯科一世和奥地利乔安娜的女儿——玛丽亚。1600年，她嫁给了法国国王亨利四世；1610年，玛丽亚加冕为王后，之后不久，她的丈夫不幸被暗杀。画中描绘的王后身穿一袭珍贵的蓝色丝绒长裙，采用立体浮雕绣法，缀上金色百合（佛罗伦萨的标志），她用300余颗大珍珠，众多顶面磨平的钻石装点一身，而这仅仅是她精美珠宝中的一部分。
This painting is considered to be an ancient original copy of one of the two portraits of Maria de’ Medici by Frans Pourbus the Younger conserved in Florence, one in the Uffizi Gallery and the other in the Palazzo Pitti. Both of these had pendant pieces, portraying Henry IV, the French consort of the Florentine queen. The artist of this portrait was Giovanni Lionardo Henner, son of a lieutenant of the German guards, Giuseppe, and pupil of Giovanni Bilivert. The sitter is therefore Maria, the daughter of Francesco I, Grand Duke of Tuscany, and of Joanna of Austria; following the premature death of her parents, she was reared in a complex and sophisticated cultural milieu, where she learnt the rudiments of painting, sculpture and engraving in a fully Mannerist climate. In 1600, she married Henry IV of Bourbon, King of France, by proxy in Florence; she was crowned queen in 1610, just before the attack in which her husband was tragically assassinated. The queen is portrayed here in a precious gown of blue silk velvet, studded with golden lilies (the emblem of Florence) embroidered in relief, and she is embellished with over three hundred large pearls and numerous table-cut diamonds which were part of her extraordinary jewellery collection.
3.18 自画像
贾斯特斯•沙特曼斯（安特卫普，1597～佛罗伦萨，1681）约1650～1660年布面油画乌菲齐博物馆藏
JUSTUS SUTTERMANS (ANTWERP 1597 - FLORENCE 1681) Self-portrait c. 1650 - 1660 Oil on canvas Uffizi Gallery
贾斯特斯•沙特曼斯是佛兰德血统。1621年，沙特曼斯来到佛罗伦萨为科西莫二世效力，成为梅迪奇宫廷的画家和御用肖像画家。沙特曼斯共服务过三代或以上的梅迪奇君主。在沙特曼斯的成熟期，画作呈现出巴洛克风格。这是因为他与鲁本斯 (Rubens) 交往后以及1637年结识彼得罗•达•科尔托纳 (Pietro da Cortona)（在梅迪奇家族的碧提宫中工作）后，他接触了委拉斯开兹(Velázquez) 和巴西齐奥 (Baciccio) 的作品。该自画像于1704年被转移到乌菲齐博物馆，并于1675年记入红衣主教莱奥波尔多•德•梅迪奇的肖像画系列。他似乎在50岁左右创作了这幅自画像。在凡•戴克 (Van Dyck) 于1620年后不久为其画的肖像画中，沙特曼斯看起来要年轻很多，两幅画的比较结果支持了上面的猜测。该自画像的黑色镀金边框是原件。
Flemish by origin, Justus Suttermans arrived in Florence in the court of Cosimo II in 1621, in the entourage of Pietro Fevère and other tapestry-makers summoned to the service of the grand duke. From this moment on, he became the painter and official portraitist of the Medici court, successfully merging the courtly demands of the sovereigns with a fine naturalistic rendering. He retained the position until his death, serving the Medici for no less than three generations. In his maturity, Suttermans’ paintings assumed a broader Baroque flavour, inspired by contact with the works of Velázquez and Baciccio, by his friendship with Rubens and also by his encounter in 1637 with Pietro da Cortona who was working in the Palazzo Pitti for the Medici. This self-portrait, which was transferred to the Uffizi in 1704, is documented in 1675 as part of the collection of Cardinal Leopoldo de’ Medici. The dating is hypothetical, based on the apparent age of the artist, who appears to have portrayed himself here at around the age of fifty; this conjecture is supported by comparison with the portrait of Justus executed by Van Dyck shortly after 1620, in which the artist appears considerably younger. The black, gilded frame is the original.
3.24 自画像
卡罗勒斯•杜兰（查尔斯•埃米尔•奥古斯特•杜兰德）（里尔，1837～巴黎，1917）署名并注明1869年布面油画乌菲齐博物馆藏
CAROLUS DURAN (CHARLES ÉMILE AUGUSTE DURAND) (LILLE 1837 - PARIS 1917) Self-portrait Signed and dated 1869 Oil on canvas Uffizi Gallery
乌菲齐博物馆管理层在 1887 年首次邀请卡罗勒斯•杜兰绘制一幅自画像，但直到 1913 年画像才姗姗来迟。同多年前许诺的一样，卡罗勒斯•杜兰送来了一幅他年轻时代的自画像：画面中他以经典的姿势拿着画笔和画板。然而，这幅画中最引人注目的是画家的眼神，充满了自信；通过明暗对比效果，充分表现了画家在肖像画和其他作品中的表现力。卡罗勒斯•杜兰是法国上流社会中著名的肖像画家，他认为“绘画不是模仿艺术，而是解读的艺术。绘画所要表达的，是你对事物的感觉，而非事物本身。”作家埃米尔•左拉 (Émile Zola) 认为卡罗勒斯•杜兰师承爱德华•马奈（Édouard Manet），因为他作品中充盈着各种有趣、但却极富现代性的细节。
The self-portrait of Carolus-Duran was requested by the management of the Uffizi for the first time in 1887, but only arrived in the Gallery in 1913. As promised many years before, Carolus-Duran however submitted a youthful portrait, where the artist shows himself in the classic pose with palette and brushes. What is most striking here, however, is the self-confident intensity of the gaze of the artist, renowned for the expressive power of his portraits and a painting of marked chiaroscuro effects. Carolus-Duran, the darling celebrated portraitist of Parisian high society, himself declared that «Painting is not an art of imitation, it is an art of interpretation. It is what you feel about something that you must show, not the exact thing itself». The writer, Émile Zola, designated Carolus-Duran as the heir to Édouard Manet because of the details, almost anecdotal, yet impregnated with vital modernity, that populate his paintings.
3.29 自画像
塞尔吉奥•特鲁希略•麦格耐特（卡尔达斯，1911～1999）署名并注明1960年 布面油画乌菲齐博物馆藏
SERGIO TRUJILLO MAGNENAT (MANZANARES, CALDAS 1911 - 1999) Self-portrait Signed and dated 1960 Oil on canvas Uffizi Gallery
麦格耐特对现代哥伦比亚绘画的发展做出了很多贡献。伴随着欧洲和美国运动，从二十世纪三十年代开始，他受到了构成主义风格影响，不断尝试既古典而又引起强烈共鸣的创作风格。他首先将这种风格在书籍和杂志所制作海报和插画中试用。麦格耐特是一个多方面的艺术家，不仅从事绘画，在雕塑、插画、设计、陶艺，甚至是壁画方面均有涉猎。他糅合了二十世纪三十年代的古典主义，与哥伦比亚文化的古老而传统的形象传统，以一种婉婉道来的方式，讲述了这个国家、特别是原住民文化的历史（其中一幅壁画位于波哥大大学）。这幅捐赠给乌菲齐博物馆的作品，带有强烈的现实主义风格和心理深度，表现了画家在肖像体裁上纯熟的技巧。
Magnenat made a major contribution to the development of modern Colombian painting. In line with the European and American movements, from the 1930s, he practised a painting of classical and monumental echoes, partly influenced by the Constructivist style, but tempered by a decorative elegance. This was a style that he experimented with, above all, in the graphics he produced for posters and illustrations for books and magazines. Magnenat was in fact a multi-faceted artist, who engaged not only in painting, but also in sculpture, illustration, design, pottery and, finally, even mural painting. This is a technique of a distinctly Latin American tradition, frequently of a celebratory or historic stamp, in which Magnenat brought together the classicism of the 1930s with the retrieval of the more ancient and traditional figurative tradition of Colombian culture, to recount in a deliberately didactic manner, the history of the country and above all, the indigenous culture (one of the murals is at the University of Bogotà). The work donated to the Uffizi, of great realism and psychological depth, reveals the artist’s skill also in the genre of the portrait.