Uffizi sentence example

uffizi
  • What is probably a Roman imitation of this work was found in 1583 near the Lateran, and is now in the Uffizi gallery at Florence.
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  • The chief art galleries are the Uffizi, the Pitti and Accademia.
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  • In the Uffizi the pictures are arranged in strict chronological order.
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  • Adjacent is the Palazzo degli Uffizi, completed in 1896, containing various public offices.
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  • Titian's famous portrait of her is in the Uffizi gallery in Florence.
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  • The former of these is in the Uffizi at Florence; of the latter, four versions exist, that in the National Gallery (formerly in the Ashburton-Northampton collections) having the best claim to originality.
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  • The period is closed, so far as paintings are concerned, by two examples of far higher value than those above named, that is to say the Paumgartner altarpiece at Munich, with its romantically attractive composition of the Nativity with angels and donors in the central panel, and the fine armed figures of St George and St Eustace (lately freed from the over-paintings which disfigured them) on the wings; and the happily conceived and harmoniously finished "Adoration of the Magi" in the Uffizi at Florence.
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  • An interval of five years separates the Vienna "Madonna" from the two fine heads of the apostles Philip and James in the Uffizi at Florence, the pair of boys' heads painted in tempera on linen in the Bibliotheque Nationale at Paris, the "Madonna with the Pink" at Augsburg, and the portrait of Wolgemut at Munich, all of 1516.
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  • In the Uffizi gallery, an altarpiece, the Virgin (life-sized) enthroned, with the Infant and twelve angels.
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  • Maria Novella, a "Coronation of the Virgin," with a predella in three stctions, now in the Uffizi, - this again is one of his masterpieces.
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  • A portrait of the artist is in the hall of the painters at the Uffizi, and another at the National Gallery.
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  • A small and charming strip of an oblong "Annunciation" at the Louvre is generally accepted as his work, done soon after 1470; a very highly wrought drawing at the Uffizi, corresponding on a larger scale to the head of the Virgin in the same picture, seems rather to be a copy by a later hand.
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  • This little Louvre "Annunciation" is not very compatible in style with another and larger, muchdebated "Annunciation" at the Uffizi, which manifestly came from the workshop of Verrocchio about 1473-1474, and which many critics claim confidently for the young Leonardo.
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  • The preparation in monochrome for this picture, a work of extraordinary power both of design and physiognomical expression, is preserved at the Uffizi, but the painting itself was never carried out, and after Leonardo's failure to fulfil his contract Filippino Lippi had once more to be employed in his place.
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  • We may name, besides those already specified - in the Naples Museum, " St Euphemia," a fine early work; in Casa Melzi, Milan, the " Madonna and Child with Chanting Angels " (1461); in the Tribune of the Uffizi, Florence, three pictures remarkable for scrupulous finish; in the Berlin Museum, the " Dead Christ with two Angels "; in the Louvre, the two celebrated pictures of mythic allegory- " Parnassus " and " Minerva Triumphing over the Vices "; in the National Gallery, London, the " Agony in the Garden," the " Virgin and Child Enthroned, with the Baptist and the Magdalen," a late example; the monochrome of " Vestals," brought from Hamilton Palace; the " Triumph of Scipio " (or Phrygian Mother of the Gods received by the Roman Commonwealth), a tempera in chiaroscuro, painted only a few months before the master's death; in the Brera, Milan, the " Dead Christ, with the two Maries weeping," a remarkable tour de force in the way of foreshortening, which, though it has a stunted appearance, is in correct technical perspective as seen from all points of view.
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