Leonardo da Vinci, Adorazione dei Magi, immagine antecedente il testauro, Firenze, Galleria delle Statue e delle Pitture degli Uffizi

The programme got under way on 10 January with Fashion in Florence through the lens of the Archivio Foto Locchi. This photographic exhibition, held in Palazzo Pitti's Andito degli Angiolini and due to run until 5 March, is devoted to fashion from the 1930s to the 1970s and uses the force of images to tell the story of the birth of fashion in Florence. 24 January saw the inauguration of Giorgio Castelfranco: curator, patron and defender of the arts in the Sala del Camino della Galleria delle Statue e delle Pitture in the Uffizi. The exhibition, which is due to run until 26 February and which is the first in a series of exhibitions in a minor key designed to focus on specific aspects and interests, celebrates the figutre of Giorgio Castelfranco, a leading player in the preservation of Italy's heritage in the Fascist era. An official with the then Soprintendenza and the director of the collections in Palazzo Pitti, he fell victim to the race laws and worked behind the scenes for the country's freedom and for the safety of its artistic heritage. At the same time, he was himself a connoisseur, supporter and patron of the contemporary art of his day

The exhibitions planned for the coming months range from Renaissance themes and crucial moments in the growth of the Medici family's collections to a historical commemoration of the October Revolution and include one-man shows of work by celebrated contemporary artists. In addition to the exhibition programme, a number of restored works and new acquisitions will also be presented to the public in a setting narrating their history, occasionally displaying coeval work alongside them, and illustrating any new evidence discovered during restoration.

We should also briefly mention another major exhibition at Palazzo Pitti, due to be announced separately in the coming weeks, designed to coincide with the summer edition of Pitti Uomo and which will thus be a spectacular event linked to fashion and costume organised in conjunction with Pitti Immagine.

"The rich and intense programme of exhibitions that the Gallerie degli Uffizi plans to offer its visitors in 2017 places particular emphasis on contemporary art," said Uffizi Director Eike Schmidt, "because our cooperation with the city of Florence in this sphere is going to be stepped up further thanks to the fact that our galleries will be hosting a number of works associated with two exhibitions organised by the Fondazione Palazzo Strozzi and the Comune respectively: a retrospective of Bill Viola's work at Palazzo Strozzi and a major retrospective of Italian art entitled Ytalia at the Forte Belvedere. Also, starting this year, we will be inaugurating two exhibitions every March devoted to two women artists, one from the past and one from the present. The art and architecture of the 15th and 16th centuries and various aspects of the Medici family's collecting occupy the central part of our exhibition programme, and the year will end with a series of exhibitions focusing on three true revolutionaries, each in his own field (Martin Luther, Leopoldo de' Medici and Eisentstein), and with Europe's firstg major exhibition on Japanese nature and landscape painting from the Muromachi era to the start of the Edo era (15th to 17th centuries). Thus our intention with this programme is to address a varied array of themes and issues while maintaining our broad offer of culture throughout the year, and in fact beefing that offer up during those periods of the year when the city tends to attract fewer visitors."

The Restoration of the Triptych with Nicolas Froment's Raising of Lazarus, curated by Daniela Parenti. Uffizi, Sala del Camino, 7 March – 30 April 2017
The exhibition will be presenting French painter Nicolas Froment's triptych depicting the Raising of Lazarus following its restoration, made possible by a generous contribution from the Amici degli Uffizi. Froment, who hailed originally from Picardy, worked in Provence for a large part of his career but only a handful of his works have survived. This painting, signed and dated 1461, is not only one of the most imposing pictures in the Gallerie degli Uffizi's collection of work by foreign artists of the 15th century, it also testifies to the interest that Italian art patrons took in northern European painting. The triptych came to the Uffizi from the Franciscan convent of Bosco ai Frati in the Mugello region in the wake of the Napoleonic suppressions. Recent restoration has revived the sharp colours of the artist's palette, vastly improved the observer's ability to appreciate the picture's finer details, and confirmed that most of the elements making up the frame, including the spectacular Gothic fretwork in the central panel, are original.


Nicolas Froment, Episodi della Vita di Cristo e Resurrezione di Lazzaro, olio su tavola, Firenze, Gallerie degli Uffizi.

Plautilla Nelli. Art and Devotion in the Convent in Savonarola's Footsteps, curated by Fausta Navarro. Uffizi, Galleria delle Statue e delle Pitture, 9 March – 4 June 2017
The rediscovery in Florence, Siena, Perugia and Assisi of a cycle of five paintings by Plautilla Nelli (1522–88), all of them half-figure profile portraits of female Dominican saints, adds a new and important piece to the reconstruction of the artistic career of this painter and nun who was so heavily influenced by the School of San Marco. Her portraits display an unusual iconography, which may be associated with that of St. Catherine of Siena despite the considerable differences. The exhibition sets out to expand our knowledge of the serial production of devotional images through the use of various techniques, starting with the "pouncing" technique that the nuns used also in their embroidery, the art form perhaps most typically and traditionally associated with convent life. To represent this art form, the exhibition will be hosting a splendid silk altar frontal with late 16th century applied embroidery from the Convento di San Vincenzo in Prato.


Suor Plautilla Nelli, Santa Caterina de' Ricci, olio su tela, Siena, Convento di San Domenico

Maria Lassnig: Woman Power, curated by Wolfang Drechsler. Palazzo Pitti, Andito degli Angiolini, 25 March – 25 June 2017
Together with Louise Bourgeois and Joan Mitchell, Maria Lassnig (1919–2014) was one of the most important artists of the second half of the 20th century. Her painting is unique in terms of both style and content, her favourite theme being the artist herself. The overwhelming majority of her work consists of self-portraits, even when the title is different, yet her features play only a partial role in them. The outside, visible world often serves merely as the vessel for a perceptible interior world.
Maria Lassnig played a crucial role as a forerunner of the feminist movement in the context of the figurative arts and that role has been abundantly recognised in recent years. For example, she won the Golden Lion award for her career at the Venice Biennale in 2013. The exhibition will be hosting works covering five decades of Lassnig's work, including several masterpieces, in an effort to trace the development of her career and the stylistic changes that marked it.
The exhibition will be produced in conjunction with the Albertina in Vienna.


Maria Lassnig, Mit einem Tiger schlafen (Dormire con una tigre), 1975, olio su tela, Vienna, The Albertina Museum, prestito a lungo termine dalla Oesterreichische Nationalbank. © Maria Lassnig Foundation; Albertina, Vienna – Peter Ertl, Olga Pohankova


Maria Lassnig, Woman Power, 1979, olio su tela, Vienna, The Albertina Museum, The Essl Collection. © Maria Lassnig Foundation; Graphisches Atelier Neumann, Vienna.

We Must Make Haste! Marche 2016 – 2017: treasures rescued and treasures still to rescue, curated by Gabriele Barucca. Uffizi, Aula Magliabechiana, 28 March – 30 July 2017
The exhibition, the profits from which will be used to restore the monuments damaged in the earthquake, hosts a series of masterpieces from the villages and towns of the Marche region, in particular from the provinces of Ascoli Piceno, Fermo and Macerata which were struck by the terrible earthquake that severely damaged or rendered inaccessible the churches, palazzi and museums in which the artworks were housed, often from the moment they were created. The exhibition, which offers visitors a unique opportunity to explore these areas in the hinterland of the southern Marche, is the Gallerie degli Uffizi's tribute to the Marche in memory of the strong historical bond which the Uffizi maintains with the art collections of the region, and especially of Urbino, thanks to the legacy of Vittoria della Rovere. The choice of works on display is also designed to provide the visitor with a succint overview of the development of art in the region from the Middle Ages to the 18th century. The exhibition is promoted by the Gallerie degli Uffizi in conjunction with the Soprintendenza Archeologia, Belle Arti e Paesaggio delle Marche and the Segretariato Regionale Mibact per le Marche.


Simone de Magistris, Transito di San Martino, 1590 ca., olio su tela, Caldarola, Collegiata di San Martino


Carlo Maratti, Visione di Santa Francesca Romana, 1655 - 1656, olio su tela, Ascoli Piceno, Chiesa di Sant'angelo Magno

Leonardo da Vinci's Magic Cosmos: The Adoration of the Magi Restored, curated by Eike Schmidt, Marco Ciatti, Cecilia Frosinini. Uffizi, Galleria delle Statue e delle Pitture, 28 March – 24 September 2017

Leonardo da Vinci's Adoration of the Magi is returning to the Uffizi after six years, in the course of which the painting has been restored and subjected to thorough diagnostic inspection by the Opificio delle Pietre Dure, with the financial support of the Amici degli Uffizi. The painting was commissioned from Leonardo by the Austin Friars in 1481 for their church of San Donato a Scopeto. The master's departure for Milan in 1482, however, caused him to leave it unfinished and led to the friars calling on Filippino Lippi a few years later to produce another altarpiece depicting the Adoration of the Magi, which was completed in 1496. The painting, which Leonardo stopped painting after a lengthy preliminary study, found a home in the palazzo of the Benci family in Florence for some time before entering the Medici family's collections. It is the largest of Leonardo's panel paintings to have come down to us (246 x 243 cm). Its restoration not only resolved a number of conservation issues but also permitted the recovery of its unexpected colours and restored its full readability, which is extremely rich in fascinating details that open up new prospects with regard to its complex iconographical significance. Alongside Leonardo's Adoration of the Magi, the exhibition also hosts Filippino Lippi's version of 1496 in a fascinating interplay highlighting both the differences in the two masters' temperament and the different ways in which they interpreted the same subject matter as a result of the changes in the political and cultural climate that had taken place in Florence in just over a decade. 


Leonardo da Vinci, Adorazione dei Magi, immagine antecedente il testauro, Firenze, Galleria delle Statue e delle Pitture degli Uffizi


Leonardo da Vinci, Adorazione dei Magi, particolare in fase di restauro dopo la pulitura, Firenze, Galleria delle Statue e delle Pitture degli Uffizi 

Giuliano da Sangallo. Drawings from the Uffizi, curated by Dario Donetti, Marzia Faietti, Sabine Frommel. Uffizi, Sala Edoardo Detti and Sala del Camino, 16 May – 20 August 2017
The Uffizi's first monographic exhibition devoted to the graphic work of Giuliano da Sangallo (Florence, c. 1445–1516) hosts both a judicious selection of drawings from the vast body of work in the gallery's collection and a limited number of other artistic artefacts carefully selected to illustrate the artist's multi-faceted talents and the many implications of his architectural interests, as well as the activities of his workshop. The exhibition catalogue offers a comprehensive overview of Giuliano da Sangallo's graphic output, highlighting the chronology, sites and patronage associated with the final decades of his career; his compositional research and experimentation with types in religious, civic and military architecture; the role played by antiquarian studies and books of drawings; his ties with his brother Antonio the Elder, his nephew Antonio the Younger and his son Francesco in codices and presentation drawings produced jointly with them; the practice of copying and circulating architectural and antiquarian knowledge; and the function of wooden models as operational tools for design in relation to drawing.


Giuliano da Sangallo, Progetto per San Lorenzo a Firenze, Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe


Giuliano da Sangallo, Progetto per un tabernacolo, Firenze, Gallerie degli Uffizi, Gabinetto dei Disegni e delle Stampe

A Gift for the Grand Duke: silver plates for the Feast of St. John, curated by Rita Balleri, Maria Sframeli. Palazzo Pitti, Tesoro dei Granduchi, 24 June – 5 November 2017

The exhibition sets out to shed light on a little known yet nonethetheless fascinating episode in the history of silverworking in Italy between the 17th and 18th centuries – an episode occasioned by the feast of St. John the Baptist, which has been solemnly celebrated in Florence every year on 24 June since the city's earliest days, and by the diplomatic relations of the House of Medici, which extended its influence over both the courts of Europe and the Roman Curia. These circumstances permitted the Medici to enrich their collections with an outstanding group of historiated silver plates produced to designs by some of the leading artists working in Rome at the time. Cardinal Lazzaro Pallavicini, who was beholden to Grand Duke Cosimo III for the many favours he had received from him, ordered in his will that his heir offer the Florentine grand duke and his successors a silver plate worth three hundred scudi. His descendants honoured his wishes, and starting in 1680 and for fully fifty-eight years thereafter, Cosimo III and his successor, his son Giangastone, were to receive each year a precious silver plate decorated with stories illustrating the dynastic glory of their house. The very memory of the St. John plates would have been lost with the Medici family's extinction, however, had the Ginori manufactory in Doccia not made plaster casts of the silver originals between 1746 and 1748 in order to reproduce them in porcelain. In addition to the 18th century casts, the exhibition also showcases numerous preparatory drawings by Roman artists – including Carlo Maratta and Ciro Ferri – currently held in a variety of Italian and foreign museums and collections, along with recent porcelain and silver reproductions, the latter particularly successful in conjuring up the splendour of the originals by virtue of the inimitable light effects of silver.

Helidon Xhixha: at Random, curated by Diego Giolitti, Eike Schmidt. Giardino di Boboli, 27 June – 29 October 2017

In a one-man show hosted in the Boboli Garden, Helidon Xhixha – renowned for his floating sculptures at the most recent edition of the Venice Biennale and winner of the Somerset House Prize in London last year with his installation Bliss – will be displaying the results of his study of the concepts of chaos and order using the technique of iconic sculpture, and producing his own vision of them, drawing his inspiration from the natural world. The Limonaia in the Boboli Garden will provide the setting for a group of monumental works in stainless steel taking their cue from the Crystal Mine in Mexico to propose an alternative to Buontalenti's Grotto, while the Boboli Garden itself will provide the backdrop for works inspired by geometrical shapes found in nature. Xhixha's sculptural installations use their forms and their reflecting surfaces to interact directly with the environment, offering a new take on the interweave between art and nature of which the Medici were so fond in the 16th and 17th centuries. 


Helidon Xhixha, Simbiosis, 2016, acciaio lucidato a specchio e marmo statuario, pezzo unico.

The Uffizi and its Territory: designs by Luca Giordano and Taddeo Mazzi for two large monastic complexes, curated by Alessandra Griffo, Matilde Simari. Uffizi, Sala del Camino, 5 September – 15 October 2017

The display of two sketches by Luca Giordano (Naples 1634–1705) and Taddeo Mazzi (Palagnedra, Canton Ticino, second half of the 17th century – Florence, first half of the 18th century), recently acquired by the Gallerie degli Uffizi, provides the pretext for reflecting on an aspect of 17th and 18th century collecting that was an expression of the taste for the rapid, dabbed painting that allowed the artist to express himself in more immediate, virtuoso manner than he would have been able to do in a finished work. Giordano's preparatory drawing for the decoration of the dome in the Corsini Chapel in the church of the Carmine in Florence and Mazzi's preparatory drawing for a canvas for the Chapel of the Blessed Sacrament in the Santuario di Montesenario provide new elements to enrich the tight fabric of relations linking the Uffizi to its surrounding territory. This small exhibition is designed both to acquaint the public with the two sketches that have so recently joined the gallery's collections and to put a moment in Luca Giordano's career in Florence, as well as the work of the less celebrated Taddeo Mazzi, into focus.


Luca Giordano, Gloria di Sant’Andrea Corsini, bozzetto per la cupola della cappella Corsini di Santa Maria del Carmine di Firenze, olio su tela, Firenze, Gallerie degli Uffizi


Taddeo Mazzi, Storia del beato Manetto dell’Antella, bozzetto per un dipinto della cappella del beato Manetto della chiesa di Montesenario a Vaglia, olio su tela, Firenze, Gallerie degli Uffizi

The King of Spain's Grandchildren: Anton Raphael Mengs' Portrait of Federico and Maria Anna of Lorraine in the Pitti Palace - curated by Matteo Ceriana. Palazzo Pitti, Sala delle Nicchie, 19 September 2017 – 7 January 2018

The exhibition presents the Gallerie degli Uffizi's recent acquisition of an important painting by Anton Raphael Mengs (Aussig, 1728 – Rome, 1779) portraying Federico and Maria Anna, the young children of Pietro Leopoldo, dressed in contemporary costume and depicted inside Palazzo Pitti. Begun in the early 1770s while the artist was in Florence, the picture was in fact never finished and Mengs kept it with him, eventually leaving it to his daughter on his death, until it was rediscovered by a descendant of the artist. The painting is displayed alongside a version of the portrait of Pietro Leopoldo's very young children that Mengs painted on the same occasion for their maternal grandfather King Charles III of Spain, depicting the young princes in Spanish court costume (Madrid, Prado), and a portrait of their brother Francesco, the future Emperor of Austria, by Johann Zoffany (Frankfurt am Main 1733 – Strand-on-the-Green, 1810). The exhibition sets out to highlight the portrait model that Mengs developed in the Uffizi's new painting, which is more "enlightened" and closer in spirit to the approach of Zoffany who, only a very few years later, was to portray the ruling Lorraine family for their paternal grandmother, the Empress Consort Maria Theresa of Austria, again in Palazzo Pitti but in modern costume and surrounded by books and maps for study. Thus we are looking at a new, modern portrait model which, albeit within the context of the Ancien Régime, pits the young, enlightened Vienna princelings squarely against the Madrid infantes.


Anton Raphael Mengs, Ritratto degli arciduchi Ferdinando e Maria Anna, 1771-1774, Firenze, Gallerie degli Uffizi, Galleria Palatina

The Japanese Renaissance: nature in screen painting from the 15th to the 17th centuries. To mark the 150th anniversary of Friendship between Italy and Japan, curated by Rossella Menegazzo. Uffizi, Aula Magliabechiana, 26 September 2017 – 7 January 2018

The exhibition uses a selection of approximantely forty large paintings of landscapes and natural scenes in the traditional sliding screen format to illustrate the golden age of Japanese art stretching from the Muromachi era to the Edo era (15th to 17th centuries). In particular, the exhibition tracks the emergence of the two great trends that marked the whole of Japanese painting, reaffirming the aesthetic ideals that we still associate with Japan today: on the one hand, evocative monochrome painting made up of voids and of bare, rapid lines, close to the Chinese tradition and linked with the Zen philosophy which the warrior class embraced as early as in the Kamakura period and which adorned the temples and residences of the Samurai; and on the other, the indigenous style of painting with gold backgrounds and flat fields of colour, more explicit and easier to grasp, that was perfectly suited to adorning such large residential spaces as the homes of the bourgeois classes and the palaces and castles of the aristocracy. On the one hand, landscapes painted by such artists as Hasegawa Tōhaku, Kaihō Yūshō and Unkoku Tōgan with their rarefied, symbolic atmospheres; on the other, traditional Kanō and Tosa school works depicting flowers and birds, the four seasons, and sites that owe their fame to literature and to poetry, depicted in bright colours in the Yamato-e style. The changing beauty of nature expressed in the considerable dimensions allowed by one, or more often two, screens comprising two or six panels apiece, convey the deep bond linking the Japanese people to the plant and animal world, causing the people to become an integral part of that world in accordance with the Shintoist pantheistic religious sentiment that underpins the whole of Japan's literary and visual culture. This first major exhibition in Europe of painted screens from museums, tamples and the Japanese Cultural Affairs Agency winds up the programme of activities devised to mark the 150th anniversary of Friendship between Italy and Japan and is organised in conjunction with the Japanese Cultural Affairs Agency and with the Embassy of Japan in Italy.


Shikibu Terutada, Gibboni che si divertono tra alberi e rocce, paravento a sei ante, periodo Muromachi, XVI secolo, Kyoto National Museum, Proprietà Culturale Importante.


Autore sconosciuto, La pianta di Musashino, paravento a sei ante, periodo Edo, tardo XVII secolo, Suntory Museum of Art.

Lucas Cranach and the Portraits of Luther from the Medici CollectionTo mark the 500th anniversay of the Lutheran reform, curated by Francesca de Luca. Uffizi, Sala del Camino, 31 October 2017 – 7 January 2018

The Gallerie degli Uffizi is displaying the portrait of Luther by Lucas Cranach (1572–53), court painter to the Elector of Saxony Frederick the Wise to mark the 500th anniversary of the day Martin Luther pinned his ninety-five theses against indulgences on the door of Wittenberg's Schloßkirche. Running a flourishing workshop in the capital of Saxony, Cranach forged such close ties with the Austin friar that he ended up becoming of the leading players in defining the new Protestant iconography of art. His portraits of Luther, of his wife Caterina von Bora and of the Protestant Humanist Filippo Melantone were to acquire vast renown throughout the known world, including even in certain Counter-Reformation courts such as the court of the Medici in Florence.


Lukas Cranach il Vecchio, Ritratti di Martin Lutero e Caterina von Bora, olio su tavola, Firenze, Galleria delle Statue e delle Pitture degli Uffizi.

Eisenstein: the image revolution. To mark the 100th anniversary of the Great Socialist Revolution in Russia, curated by Marzia Faietti, Gianluca Farinelli, Pierluca Nardoni ed Eike Schmidt. Uffizi, Sala Edoardo Detti, 7 November 2017 – 7 January 2018

The impact that Sergey Eisenstein's narrative revolution in film editing has had on expressive media from the 20th century to the present day is unmatched by virtually any other innovation. The exhibition, organised in conjunction with the Pushkin State Museum of Fine Arts in Moscow and the Cineteca Comunale di Bologna, offers an overview of this great film director and theoretician's style and visual thought, taking its cue from his drawings which reveal his particular interest in Italian Renaissance art.

Leopoldo de' Medici, Prince of Collectors. To mark the 400th anniversary of Leopoldo de' Medici's birth, curated by Valentina Conticelli, Riccardo Gennaioli, Maria Sframeli. Palazzo Pitti, Tesoro dei Granduchi, 7 November 2017 – 28 January 2018

An encylopaedic figure of scholarship and discernment who was raised to the purple at the age of fifty, Cardinal Leopoldo de' Medici stands out in the panorama of European collecting thanks to the vast scope of his interests and to the astonishing variety that was such a feature of his collections. Availing himself of highly skilled agents, merchants and secretaries both in Italy and abroad, he put together in the course of his life a collection of utterly superb and sophisticated items in the most wide-ranging of fields stretching from ancient and modern sculpture to coins, medals and cameos, paintings, drawings and engravings, ivories, semi-precious stones and precious objets d'art, portraits large and small, books, scientific instruments and natural rarities. On his death in 1675, most of his works entered the grand ducal collections and many of them were expressly earmarked by his nephew, Grand Duke Cosimo III, for the Galleria degli Uffizi. The systematic entry of Leopoldo's works of art into the collections of the Tuscan ducal family's principle museum sparked one of the most radical renovations in its history.

To mark the fourth centenary of Leopoldo's birth in 2017, the Gallerie degli Uffizi, which still holds the major part of his collection, wishes to display some of the more significant examples of his taste in the various fields that benefited from his discerning connoisseurship to illustrate the multi-faceted nature of his preferences and to shed light on the extremely rich contribution that he made to the family's art treasures.   


Giovanni Battista Gaulli detto il Baciccio, Ritratto del cardinal Leopoldo de'Medici, Firenze, Galleria delle statue e delle Pitture degli Uffizi.