第一部分 风景画
对于风景的描绘，最初仅限于用作表现宗教或世俗场景的背景。自十六世纪末开始，风景逐渐受到重视，直到经历了漫长的十七世纪，它才成为一个固定的绘画品种。那时，最富诗意、令人陶醉的地中海自然风光对外国艺术家的吸引甚至超过了意大利风景和宏伟壮观的古罗马遗迹。正是这些来自荷兰、佛兰德、法国、德国的艺术家们通过探究自然之奥秘，在真实生活中研究一天中不同时间光线的变化，率先以现代的艺术语言来描绘那些充斥圣经和神话人物的风景。当时在佛罗伦萨，许多梅迪奇家族成员热衷于收藏风景画来丰富他们的藏品。他们的收藏范围相当广泛：从十七世纪早期精细的森林、山岭和湖泊的写实作品，到对大自然夸张粗犷的描绘，再到十八世纪那些讲究透视、空间与层次的画作，均在其收藏之列。
LANDSCAPES
Initially confined to the background of scenes both sacred and profane, from the end of the 16th century the representation of landscape began to claim consistently more significant space until, in the course of the 17th century, it became consolidated as a pictorial genre in its own right. The most poetic and evocative aspects of the Mediterranean natural landscape captivated above all the foreign artists - Dutch, Flemings, French and German - attracted by the Italian panoramas and by the monumental vestiges of ancient Rome. They were the first to translate into modern language the landscapes populated by Biblical and mythological figures, penetrating the secrets of nature and studying from real life the shifting of the light at the different times of the day.
In Florence many members of the Medici family collected landscapes to enhance their collections: these ranged from the meticulous and realistic depictions of woods, hills and lakes of the early 17th century, to the interpretation of nature in magnified, imperious and wild forms, through to the perspective views and the ranging and airy visions of the 18th-century views.
第二部分 静物画
自十六世纪末至十七世纪初，一种新的绘画类型在意大利和欧洲艺术界开始流行，那些本不起眼的物品现在成了描绘对象。实际上，在此之前，为了满足古典神话或基督教圣经故事插图的基本需求而描绘一些物品或果实的做法曾经一度风靡。人们对大自然的好奇，在当时提倡以新的方式探究真实世界的文化背景下，推动了静物画的成熟。十七世纪末至十八世纪初，静物画在佛罗伦萨地区的流行达到顶峰。梅迪奇家族的成员热衷于收藏这类描绘花卉、食物以及其它任何能够抓住他们眼球的物品的绘画，其中尤以科西莫三世大公（1642～1723）和费尔迪南多王子（1663～1713）为甚。正因如此，今天的乌菲齐博物馆才得以自豪地拥有这些无与伦比的静物杰作。
STILL LIFE
Between the end of the 16th century and the early decades of the 17th, a new genre began to spread through Italian and European art: paintings dealing with subjects that up to then had not been deemed worthy of being illustrated on their own account. Prior to this, in fact, the portrayal of objects and of the fruits of nature had been spasmodic and essentially functional to the narrative demands of the story being illustrated, whether this was derived from classical mythology or inspired by the sacred texts of the Christian tradition. Curiosity about the natural world, influenced by a culture which in these decades was developing a new approach to reality, contributed to the success of this genre of painting, which in Florence enjoyed its greatest popularity between the end of the 17th century and the dawn of the 18th. The enthusiasm with which the members of the Medici family - foremost among them the Grand Duke Cosimo III (1642-1723) and Prince Ferdinando (1663-1713) - collected paintings of flowers, food and anything else that grasped their interest, explains why the Uffizi Gallery now boasts some of the most consummate masterpieces of the still life genre.
第三部分 肖像画
十五世纪，肖像画逐渐成为西方艺术中一种流行的绘画品种。这些肖像画流传后世的不仅是画中人物的模样，还有他们的身份和地位。最初，只有像君主、高级神职人员以及政治家这些杰出人士才有权力要求为其绘制肖像画，之后这一特权向更广泛的社会阶层扩展，尽管仍然只限于那些富裕的上流社会人士。十六世纪，人物姿势和画像尺寸变得更加多样化，而在上层社会，则产生了一种固定的模式，被称为“正式肖像”，即画面上的人物是真人大小的四分之三或是同真人一样大小。肖像画之所以有很高的知名度，对观赏者也极具吸引力，是因为人们希望通过图像，不但可以识别画中人物的体貌特征，也能够透视其心理特质。尽管如此，像梅迪奇家族这样的著名藏家，甚至还收藏有大量无名氏或是已被遗忘之人的肖像画，而这些画的价值高低往往取决于画家本身的名气大小。
PORTRAITS
The portrait became established as an artistic genre in western art during the 15th century, entrusted with the task of handing down not only the image but also the status and dignity of the sitters. Initially the prerogative of illustrious figures, such as sovereigns, high-ranking members of the clergy and statesmen, over the course of the century the practice of having one’s portrait painted spread to a broader social bracket, albeit still confined to the affluent social elite. The 16th century witnessed a diversification of the poses of the sitters and the size of the paintings, and in loftier circles the practice of the ‘official portrait’ – in which the figure is shown from a three-quarter view or life size – became consolidated. The popularity of the portrait, and the fascination that it has always exerted on observers, springs from the desire to recognize through the image not only the physical features of the figures, but also their psychological traits. Despite this, great collectors such as the Medici amassed portraits even of people whose identities were unknown or forgotten, and the value of these paintings tended to reside in the fame of the artists to whom they were attributed.
自画像
最早的自画像出现于十四世纪，当时的画家把自己和他们的主顾一同画入宗教题材的场景之中。乌菲齐博物馆拥有迄今为止最古老、最为丰富的自画像藏品，其基础是红衣主教莱奥波多•梅迪奇（1617～1675）所收藏的80件艺术珍品，其中最初收藏的15件杰作已列入梅迪奇家族遗产之中。有一些藏品是由科西莫三世大公（1642～1723）在原有基础上进一步扩充的，大都为外国艺术家的精品。这些画作原来保存在彼提宫中，1687年被转移到了乌菲齐博物馆，并按尺寸大小分为两类。到十七世纪末，乌菲齐的自画像收藏远远多于欧洲的其他画廊和博物馆，入选乌菲齐博物馆已成为画家们梦寐以求的目标。作为梅迪奇大公继承者的洛林的彼得•利奥波德（1744～1792）将此类艺术品的收藏增加到了330件。到二十世纪八十年代，随着艺术品收藏热潮的兴起，230多位艺术家的画作入藏乌菲齐博物馆。如今，乌菲齐自画像收藏品的总数已达1650件之多。
SELF-PORTRAITS
The self-portrait made its debut in the course of the 14th century, in the first paintings where the artists portrayed themselves alongside the commissioners in scenes of sacred subject. The Uffizi Gallery possesses the oldest and by far the most extensive collection of this genre of painting. The collection now in the Uffizi was begun by Cardinal Leopoldo de’ Medici (1617-1675) who, starting with the fifteen exemplars already comprised in the Medici heritage, gathered an initial nucleus of eighty works. The collection was then further enlarged by the Grand Duke Cosimo III (1642-1723), focusing in particular on works by foreign artists, and in 1687 he transferred it from the Pitti Palace (where it was conserved at the time) to the Uffizi, standardizing the dimensions of the works to two classic formats. By the end of the century the collection was already unparalleled in Europe and admission had become a coveted goal for the painters. Under Peter Leopold of Lorraine (1747-1792), the enlightened successor to the Medici Grand Dukes, the collection came to number over 330 works. The uninterrupted campaign of acquisitions was renewed with vigor in the 1980s, when more than 230 artists entered the Uffizi. Today the collection numbers is almost one thousand six hundred and fifty works.