第一部分 風(fēng)景畫(huà)

對(duì)于風(fēng)景的描繪，最初僅限于用作表現(xiàn)宗教或世俗場(chǎng)景的背景。自十六世紀(jì)末開(kāi)始，風(fēng)景逐漸受到重視，直到經(jīng)歷了漫長(zhǎng)的十七世紀(jì)，它才成為一個(gè)固定的繪畫(huà)品種。那時(shí)，最富詩(shī)意、令人陶醉的地中海自然風(fēng)光對(duì)外國(guó)藝術(shù)家的吸引甚至超過(guò)了意大利風(fēng)景和宏偉壯觀的古羅馬遺跡。正是這些來(lái)自荷蘭、佛蘭德、法國(guó)、德國(guó)的藝術(shù)家們通過(guò)探究自然之奧秘，在真實(shí)生活中研究一天中不同時(shí)間光線的變化，率先以現(xiàn)代的藝術(shù)語(yǔ)言來(lái)描繪那些充斥圣經(jīng)和神話人物的風(fēng)景。當(dāng)時(shí)在佛羅倫薩，許多梅迪奇家族成員熱衷于收藏風(fēng)景畫(huà)來(lái)豐富他們的藏品。他們的收藏范圍相當(dāng)廣泛：從十七世紀(jì)早期精細(xì)的森林、山嶺和湖泊的寫(xiě)實(shí)作品，到對(duì)大自然夸張粗獷的描繪，再到十八世紀(jì)那些講究透視、空間與層次的畫(huà)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 靜物畫(huà)

自十六世紀(jì)末至十七世紀(jì)初，一種新的繪畫(huà)類(lèi)型在意大利和歐洲藝術(shù)界開(kāi)始流行，那些本不起眼的物品現(xiàn)在成了描繪對(duì)象。實(shí)際上，在此之前，為了滿足古典神話或基督教圣經(jīng)故事插圖的基本需求而描繪一些物品或果實(shí)的做法曾經(jīng)一度風(fēng)靡。人們對(duì)大自然的好奇，在當(dāng)時(shí)提倡以新的方式探究真實(shí)世界的文化背景下，推動(dòng)了靜物畫(huà)的成熟。十七世紀(jì)末至十八世紀(jì)初，靜物畫(huà)在佛羅倫薩地區(qū)的流行達(dá)到頂峰。梅迪奇家族的成員熱衷于收藏這類(lèi)描繪花卉、食物以及其它任何能夠抓住他們眼球的物品的繪畫(huà)，其中尤以科西莫三世大公（1642～1723）和費(fèi)爾迪南多王子（1663～1713）為甚。正因如此，今天的烏菲齊博物館才得以自豪地?fù)碛羞@些無(wú)與倫比的靜物杰作。

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 肖像畫(huà)

十五世紀(jì)，肖像畫(huà)逐漸成為西方藝術(shù)中一種流行的繪畫(huà)品種。這些肖像畫(huà)流傳后世的不僅是畫(huà)中人物的模樣，還有他們的身份和地位。最初，只有像君主、高級(jí)神職人員以及政治家這些杰出人士才有權(quán)力要求為其繪制肖像畫(huà)，之后這一特權(quán)向更廣泛的社會(huì)階層擴(kuò)展，盡管仍然只限于那些富裕的上流社會(huì)人士。十六世紀(jì)，人物姿勢(shì)和畫(huà)像尺寸變得更加多樣化，而在上層社會(huì)，則產(chǎn)生了一種固定的模式，被稱為“正式肖像”，即畫(huà)面上的人物是真人大小的四分之三或是同真人一樣大小。肖像畫(huà)之所以有很高的知名度，對(duì)觀賞者也極具吸引力，是因?yàn)槿藗兿Ｍㄟ^(guò)圖像，不但可以識(shí)別畫(huà)中人物的體貌特征，也能夠透視其心理特質(zhì)。盡管如此，像梅迪奇家族這樣的著名藏家，甚至還收藏有大量無(wú)名氏或是已被遺忘之人的肖像畫(huà)，而這些畫(huà)的價(jià)值高低往往取決于畫(huà)家本身的名氣大小。

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.

自畫(huà)像

最早的自畫(huà)像出現(xiàn)于十四世紀(jì)，當(dāng)時(shí)的畫(huà)家把自己和他們的主顧一同畫(huà)入宗教題材的場(chǎng)景之中。烏菲齊博物館擁有迄今為止最古老、最為豐富的自畫(huà)像藏品，其基礎(chǔ)是紅衣主教萊奧波多?梅迪奇（1617～1675）所收藏的80件藝術(shù)珍品，其中最初收藏的15件杰作已列入梅迪奇家族遺產(chǎn)之中。有一些藏品是由科西莫三世大公（1642～1723）在原有基礎(chǔ)上進(jìn)一步擴(kuò)充的，大都為外國(guó)藝術(shù)家的精品。這些畫(huà)作原來(lái)保存在彼提宮中，1687年被轉(zhuǎn)移到了烏菲齊博物館，并按尺寸大小分為兩類(lèi)。到十七世紀(jì)末，烏菲齊的自畫(huà)像收藏遠(yuǎn)遠(yuǎn)多于歐洲的其他畫(huà)廊和博物館，入選烏菲齊博物館已成為畫(huà)家們夢(mèng)寐以求的目標(biāo)。作為梅迪奇大公繼承者的洛林的彼得?利奧波德（1744～1792）將此類(lèi)藝術(shù)品的收藏增加到了330件。到二十世紀(jì)八十年代，隨著藝術(shù)品收藏?zé)岢钡呐d起，230多位藝術(shù)家的畫(huà)作入藏烏菲齊博物館。如今，烏菲齊自畫(huà)像收藏品的總數(shù)已達(dá)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.