“Tribuna of the Uffizi (painting)”的意思、由来-开放百科全书

The Tribuna of the Uffizi (1772–1778) by Johan Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy. The painting is part of the United Kingdom's Royal Collection.

Production

Johan Zoffany was a German-born painter who had become successful in London. One of his principal patrons was the Royal family. In the summer of 1772, Zoffany left London for Florence with a commission from Queen Charlotte to paint 'the Florence Gallery'. (Neither she nor her husband George III ever visited Italy in person.) The agreed price was high and Zoffany was paid £300.^[1] Felton Hervey, who had a large art collection and who knew the Royal family, met Zoffany in Florence. He was included in a prominent position in the painting by December 1772.^[2] Zoffany was still working on the painting late in 1777; he only finally returned to England in 1779.^[1] By this time Hervey had died.^[2]

Artworks shown

Zoffany has varied the arrangement of the artworks and introduced others from elsewhere in the Medici collection. He gained special privileges, with the help of George, 3rd Earl Cowper, and Sir Horace Mann, 1st Baronet, such as having seven paintings, including Raphael's Madonna della Sedia, temporarily brought in from the Pitti Palace so that he could paint them in situ in the Tribuna. In thanks, Zoffany included a portrait of Cowper looking at his recent acquisition,^[3] Raphael's Niccolini-Cowper Madonna (Cowper hoped to sell it on to George III; it is now in the Washington National Gallery of Art), with Zoffany holding it (to the left of the Dancing Faun).

The unframed Samian Sibyl on the floor was acquired for the Medici collection in 1777. It was a workshop copy of the pendant to Guercino's Libyan Sibyl, recently bought by George III, and may be intended as a compliment to him.

Paintings

Sculptures and other

Today Medici's Ancient Roman statues are mostly in the main corridors of the Uffizi Gallery, except those which are still in the Tribuna, and except the smaller busts and statuettes (some antique, some pseudo-antique), owned by the National Archaeological Museum and permanently displayed at Villa Corsini a Castello, near Florence. Many of those painted by Zoffany are still to be identified, though. Other antiquities (Etruscan, Egyptian, Greek) are mostly in the National Archaeological Museum. Some very few Renaissance pieces from the Tribuna are now in the Bargello Museum.

Persons shown

All of the connoisseurs, diplomats and visitors to Florence portrayed are identifiable, making the painting a combination of the British 18th-century conversation piece or informal group portrait genre, with that of the predominantly Flemish 17th-century tradition of gallery views and wunderkammers. However, this inclusion of so many recognisable portraits led to criticism at the time by Zoffany's royal patrons, and by Horace Walpole, who called it "a flock of travelling boys, and one does not know nor care whom."^[5]

The first group of people is around the Niccolini Madonna. From left, standing up, there are George, 3rd earl of Cowper, Sir John Dick baronet of Braid, Other Windsor, 6th Earl of Plymouth, and Johann Zoffany, the painter itself, followed on the other side of the painting by Mr. Stevenson and his companion George Legge, 3rd Earl of Dartmouth, while is sitting on a chair Charles Loraine Smith and behind him, bended, Richard Edgcumbe, later 2nd Earl of Mount Edgcumbe.

Two more connoisseurs are near the Satiro. The first is reported to be Joseph Leeson, 2nd Earl of Milltown, even if his portrait does not match in age and resemblance those in the National Gallery of Ireland by Pompeo Batoni, and Valentine Knightley of Fawsley.

Further to the center of the painting Pietro Bastianelli, curator of the Uffizi Gallery, shows the Venus of Urbino di Titian to John Gordon,{{#tag:ref|Described in contemporary Italian newspapers as "Mr. Gordon, an English official".^[6]John Chambers wrote in 1829 that Rev. William Gordon of Saxlingham possessed several paintings "collected by John Gordon, who figured in Zoffany's picture of the Gallery of Florence".^[6]^[7] |group="nb"}} Thomas Patch (probably the man touching the Venus), Sir John Taylor and Sir Horace Mann. The sitting man, looking back towards, is the Hon. Felton Hervey.

The group around the Medici Venus include John Finch, 9th Earl of Winchilsea, Mr. Wilbraham (one of the sons of Roger Wilbraham of Natwich), Mr. Watts, Mr. Doughty and, on the orther side, Thomas Wilbraham (the second son) and James Bruce.

Footnotes

1. ^¹Royal Collection from Shawe-Taylor 2009
2. ^¹{{cite web |url=http://www.nationaltrustcollections.org.uk/object/851824 |title=The Hon. Felton Hervey (1712-1775) |work=National Trust Collections |publisher=National Trust |accessdate=15 April 2017}}
3. ^Farber 2014
4. ^This painting was owned by Zoffany at the moment: this explains its prominence.
5. ^{{cite book |title=The Yale edition of Horace Walpole's correspondence |volume=24 |pages=526–7 |chapterurl=http://images.library.yale.edu/hwcorrespondence/page.asp?vol=24&page=526 |chapter=To MANN, Friday 12 November 1779 |editor-first=W.S. |editor-last=Lewis |year=1967|publisher=Lewis Walpole Library |location=Yale |accessdate=15 April 2017}}
6. ^¹Cited in Nicholls 2006, p.152
7. ^{{cite book|last=Chambers|first=John|title=A General History of the County of Norfolk, Intended to Convey All the Information of a Norfolk Tour|chapter=Hundred of Henstead|chapterurl=https://books.google.com/books?id=Y5lQAQAAMAAJ&pg=PA760|accessdate=15 April 2017|volume=II|year=1829|publisher=John Stacy|location=Norwich|pages=759–760}}

Production

Artworks shown

Paintings

Sculptures and other

Persons shown

Footnotes

References

Sources

Citations