Uffizi | Fabbriche di Storie

GIOVANNI BELLINI | Allegoria sacra | Uffizi, Sala 20 | Lingua originale (Arabo)|  La narrazione e la voce sono di Samira Lahhane | Leggi la scheda completa dell'opera su uffizi.it   Giovanni Bellini | Holy Allegory | Room 20 Silence. I close my eyes, drag my feet over a smooth, cold surface. A floor in the finest marble takes me back to a distant past, when I was a child. I open my eyes and I am not alone: women, children, young and old men, crowd onto a large terrace overlooking a lake. It seems like a meeting, but it is not. There are prayers, but people are not looking at each other. The terrace is fenced, but with an opening leading down to the lake. The doors to my house were always open too. My father was a generous person. He used to say that those who needed help were to feel welcome. The Holy Allegory by Giovanni Bellini is one of the most mysterious works in art history. When it was painted, at the end of the 15th century, profane allegories were widespread, but not holy ones. Like the lif

CAMILLO BOCCACCINO | Testa di uomo anziano | Uffizi, Sala 23 | Versione breve | La narrazione è di Maria Spanò, la voce di Arianna Scommegna | Leggi la scheda completa dell'opera su uffizi.it    Camillo Boccaccino | Head of Old Man | Room 23  He brought me here. We met in the Gallery on a November afternoon, in the room where I was working. He was immersed in his thoughts, and I in mine. Just a few tourists around, and a calm atmosphere in the shadowy autumn light. I looked up and saw him. I had never met him, yet he was there, where he had always been. This is what happens when there is so much beauty all around you. Then, a second of harmony, which is like a small jolt for you... And there it was, that bent head of an old man. A prophet? A saint? A wise man? Like a gush of water, for me, he is my grandfather, Armando. An elementary schoolteacher with a passion for Greek and Latin, just a few things in his backpack and, on the day after 8th September 1943, the long walk home, from Rome to Sici

CAMILLO BOCCACCINO | Testa di uomo anziano | Uffizi, Sala 23 | Versione integrale | La narrazione è di Maria Spanò, la voce di Arianna Scommegna | Leggi la scheda completa dell'opera su uffizi.it   Camillo Boccaccino | Head of Old Man | Room 23  He brought me here. We met in the Gallery on a November afternoon, in the room where I was working. He was immersed in his thoughts, and I in mine. Just a few tourists around, and a calm atmosphere in the shadowy autumn light. I looked up and saw him. I had never met him, yet he was there, where he had always been. This is what happens when there is so much beauty all around you. Then, a second of harmony, which is like a small jolt for you... And there it was, that bent head of an old man. A prophet? A saint? A wise man? Like a gush of water, for me, he is my grandfather, Armando. An elementary schoolteacher with a passion for Greek and Latin, just a few things in his backpack and, on the day after 8th September 1943, the long walk home, from Rome to Sicily

DOMENICO GHIRLANDAIO | Adorazione dei Magi | Uffizi, Sala 25 | Versione breve | La narrazione è di Lina Callupe, la voce di Giulia Lazzarini | Leggi la scheda completa dell'opera su uffizi.it    Domenico Ghirlandaio | Adoration of the Magi | Room 25  I was born on my father’s land. An immense estate. One part was in the hills, the rest was green meadowland, where his cattle grazed. There were three small communities around my father’s land. Sometimes the people would go to him to ask for a piece of land to cultivate, and my father would offer it for free. He recognized this need for land; his own was large enough to give some away. Also in this painting, by Domenico Ghirlandaio, there is a meadow. It opens out behind the figure of Mary, almost an empty space to emphasize her presence. The three wise men have just placed their signs of wealth on the ground. The crowded procession accompanying them follows the round shape of the painting, highlighting the importance of Mary and the Child. In the

DOMENICO GHIRLANDAIO | Adorazione dei Magi | Uffizi, Sala 25 | Versione integrale | La narrazione è di Lina Callupe, la voce di Giulia Lazzarini | Leggi la scheda completa dell'opera su uffizi.it   Domenico Ghirlandaio | Adoration of the Magi | Room 25  I was born on my father’s land. An immense estate. One part was in the hills, the rest was green meadowland, where his cattle grazed. There were three small communities around my father’s land. Sometimes the people would go to him to ask for a piece of land to cultivate, and my father would offer it for free. He recognized this need for land; his own was large enough to give some away. Also in this painting, by Domenico Ghirlandaio, there is a meadow. It opens out behind the figure of Mary, almost an empty space to emphasize her presence. The three wise men have just placed their signs of wealth on the ground. The crowded procession accompanying them follows the round shape of the painting, highlighting the importance of Mary and the Child. In the ba

DOMENICO GHIRLANDAIO | Adorazione dei Magi | Uffizi, Sala 25 | Lingua originale (Spagnolo) |  La narrazione e la voce sono di Lina Callupe | Leggi la scheda completa dell'opera su uffizi.it   Domenico Ghirlandaio | Adoration of the Magi | Room 25  I was born on my father’s land. An immense estate. One part was in the hills, the rest was green meadowland, where his cattle grazed. There were three small communities around my father’s land. Sometimes the people would go to him to ask for a piece of land to cultivate, and my father would offer it for free. He recognized this need for land; his own was large enough to give some away. Also in this painting, by Domenico Ghirlandaio, there is a meadow. It opens out behind the figure of Mary, almost an empty space to emphasize her presence. The three wise men have just placed their signs of wealth on the ground. The crowded procession accompanying them follows the round shape of the painting, highlighting the importance of Mary and the Child. In the bac

PIERO DI COSIMO | Liberazione di Andromeda | Uffizi, Sala 28 | Versione breve | La narrazione è di Viviana Fanizza, la voce di Ottavia Piccolo | Leggi la scheda completa dell'opera su uffizi.it    Piero di Cosimo | Perseus Freeing Andromeda |  Room 28 A clear sky, a warm embrace, perhaps the last one between Andromeda and Cassiopeia, the mother who had boasted she was the most beautiful Nereid. In order to punish her, Poseidon sent a monster to raid the kingdom of Andromeda’s father, Cepheus. The first time I saw this painting I was struck by the monster, a dragon that looks gentle rather than scary, like those creatures you can find inside a book of fairy tales. It could only have been painted by Piero di Cosimo, “artist of witty and extravagant invention”. Then, as my gaze moved over the canvas, I saw a girl tied to a tree. In the foreground, three despairing women. They are unable to look at what is happening. And I can’t look at them without a feeling of rage taking hold of me. A tragedy is

PIERO DI COSIMO | Liberazione di Andromeda | Uffizi, Sala 28 | Versione integrale | La narrazione è di Viviana Fanizza, la voce di Ottavia Piccolo | Leggi la scheda completa dell'opera su uffizi.it Piero di Cosimo | Perseus Freeing Andromeda |  Room 28 A clear sky, a warm embrace, perhaps the last one between Andromeda and Cassiopeia, the mother who had boasted she was the most beautiful Nereid. In order to punish her, Poseidon sent a monster to raid the kingdom of Andromeda’s father, Cepheus. The first time I saw this painting I was struck by the monster, a dragon that looks gentle rather than scary, like those creatures you can find inside a book of fairy tales. It could only have been painted by Piero di Cosimo, “artist of witty and extravagant invention”. Then, as my gaze moved over the canvas, I saw a girl tied to a tree. In the foreground, three despairing women. They are unable to look at what is happening. And I can’t look at them without a feeling of rage taking hold of me. A tragedy is taking

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Versione breve | La narrazione è di Magdy Hassan e Eliana Caputo, la voce di Marco Martinelli, Ermanna Montanari, Giacomo Armaroli | Leggi la scheda completa dell'opera su uffizi.it    Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Versione integrale | La narrazione è di Magdy Hassan e Eliana Caputo, la voce di Marco Martinelli, Ermanna Montanari, Giacomo Armaroli | Leggi la scheda completa dell'opera su uffizi.it   Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based on

LUCA SIGNORELLI | Sacra Famiglia | Uffizi, Sala 31 | Lingua originale (Arabo) | La narrazione è di Magdy Hassan e Eliana Caputo | Le voci sono di Magdy Hassan e Zeinab Kabil Leggi la scheda completa dell'opera su uffizi.it   Luca Signorelli | Holy Family | Room 31 It all revolves around the Child. Joseph looks as though he has just arrived. With his leg, he encloses the space around Jesus, as if to protect him. His figure is bent to adapt to the shape of the painting. He approaches Mary and the child as if on tiptoe, with an attitude almost of reverence before the mystery of motherhood. Mary is beautiful, at ease in this space. She is engrossed in the book she is reading. To our eyes she is not melancholy, as many have interpreted her, because she is thinking of the fate of Jesus... To our eyes, Mary is a serene mother who is reading and teaching her child. The book on the ground and the one in her hands represent the passage from the old religion, founded on law, to the new one, based on love. She is no