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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.
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