#uffizi galleries

[eyeofpsyche]

Primavera, c. 1482 Sandro Botticelli (c. 1445–1510) Tempera on panel 202 × 314 cm (79.5 × 123.6 in) Collection of Uffizi Galleries, Florence

[vintage-treasures]

The Birth of Venus. Tempera on Canvas (ca. 1485) The Birth of Venus by Sandro Botticelli (Italian, ca. 1445–1510) is a landmark Renaissance painting. According to myth, Venus was born from sea foam created when the sky god Uranus clashed with his son Cronus. Her Greek name, Aphrodite, translates to "born from foam." From these shimmering waves, the goddess emerged fully grown near Cyprus. Venus’s face is modeled after Simonetta Vespucci, a famous Florentine beauty and Botticelli’s muse.

Standing on a gilded scallop shell, Venus floats toward shore. On the left, Zephyr and Chloris blow her forward amid falling pink roses. On the right, Flora rushes to wrap her in a cloak woven with cornflowers and daisies. Botticelli finishes this dreamlike scene using a cool, luminous palette of pale alabaster tones and pastel blues, illuminated by gold highlights that trace the waves, foliage, and hair. While the scene celebrates harmony, Venus's impossibly elongated neck, dropped shoulder, and overlong arm sacrifice anatomical realism for fluid grace, subtly anticipating the Mannerist style. Loc. Uffizi Galleries, Florence. Dim. 172.5 x 278.5 cm (67.9 x 109.6 in.)

[artandthebible]

God Speaks to Noah after the Flood

Artist: Jacopo Bassano (Jacopo dal Ponte) (c. 1510-1592)

Date: c. 1578

Medium: Oil on canvas

Collection: Uffizi Galleries, Florence, Italy

Description

Genesis 8:15–9:17 marks the end of the global flood and God's new covenant with humanity. God commands Noah and his family to exit the ark, establishes the sanctity of life, and sets the rainbow in the clouds as a perpetual sign that He will never again destroy the earth by flood.

Key details of God's post-flood address to Noah include:

God blessed Noah and his sons, commanding them to "be fruitful and increase in number and fill the earth" (Genesis 9:1)

God granted humanity permission to eat meat, but strictly prohibited eating meat with its lifeblood still in it

God instituted capital punishment for murder, declaring that because human beings are made in His image, the life of a person is sacred.

God made an unconditional covenant with Noah, all his descendants, and every living creature, promising never to destroy the earth with a global flood again.

God set the rainbow in the clouds as the visible, permanent sign and reminder of His covenant promise.

[allegorypaintings]

Temperance

Artist: Piero del Pollaiolo or Pollaiuolo (Italian, 1441-1496)

Date: 1470

Medium: Tempera grassa on panel

Collection: Uffizi Galleries, Florence, Italy

[royalty-nobility]

Portrait of Princess Louise of Stolberg, Countess of Albany

Artist: François-Xavier Fabre (French, 1776-1837)

Date: 1793

Medium: Oil on canvas

Collection: Uffizi Galleries, Florence, Italy

Depicted Person: Princess Louise of Stolberg-Gedern

Princess Louise Maximiliane Caroline Emanuel of Stolberg-Gedern was the wife of Charles Edward Stuart, the Jacobite claimant to the English and Scottish thrones. The unhappy marriage led her to request from the pope a decree of separation, which she was granted. During her years in Paris and Florence, she established famous salons where important artists and intellectuals of the day were invited to gather. She is commonly called the Countess of Albany.

[michael-svetbird]

FEMALE DEITY | Possibly Goddess Cybele or Juno: Since my penultimate visit to the Uffizi Gallery in 2021, I observed, recently, in June 2025, that the magnificent head 'Female Deity' [possibly Cybele or Juno] had been relocated to the newly renovated 'Cabinet of Ancient Marbles', its apparent position prior to the refurbishment. Nonetheless, I preferred its former placement in the gallery by the window, where the head appeared to gaze out towards the Ponte Vecchio and the River Arno. Greek Marble, Roman, 1st half of the 2nd cent. AD.

'Recorded in the Gallery from 1778, this sculpture's provenance is uncertain. In the late 18th cent. it was restored by Innocenzo Spinazzi [1726-1798], who repaired the nose, chin, part of the lips and neck, and almost the entire crown before setting it into a bust made for it on purpose. Traditionally identified as Cybele, the head - based on late Classical Era [4 BC] Greek originals - is likely, in view of its colossal size, to have belonged to a cult statue.' [©Uffizi, 2021] 'Goddess Juno-?' [©Uffizi, 2025] Inv. 1914 n.60

Uffizi Galleries, Florence | UG [Floor 1. 'The Cabinet of Ancient Marbles']

Web : https://www.uffizi.it/en/the-uffizi

IG : @ uffizigalleries

FB : https://www.facebook.com/uffizigalleries

YT : @ uffizigalleries

UG | Michael Svetbird Phs©MSP | 14|06|25 6200X4200 600 each portrait layout ph. The object photographed is a collection item of UG [Non-commercial fair use | No AI training | Author's rights apply | Sorry for the watermarks]

📸 Part of the "UFFIZI.Nonufficiale" MSP Online Photo-gallery:

👉 D-ART: https://www.deviantart.com/svetbird1234/gallery/81032888/uffizi-nonufficiale

👉 FB: https://www.facebook.com/media/set/?set=a.1541126639589241&type=3

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[paintingsandhistory]

The Seven Wonders of the World

Artist: Bernard Rantwyck (Flemish, active c. 1573-1596)

Date: 1611

Medium: Oil on panel

Collection: Uffizi Galleries / Palatine Gallery, Florence, italy

Description

These paintings are a pictorial transposition of the Maarten Van Heemskerck’s designs for the engravings by Philip Galle in 1572, which had enormous impact as the first figurative translation of this ancient literary subject. The latin verses at the bottom of the engravings were composed by the humanist scholar, Hadrianus Junius. In 1572 he published the Epigrams of Martial, in which he mentioned an eighth wonder, the Coliseum, that is found in both series, while The Lighthouse of Alexandria is only found in the engraving series. Rantwyck mainly follows the prototypes, however he changes certain aspects to render the fantasy-like atmosphere. He arranges the seven monuments in prominent positions within the general organization of the paintings. Moreover he adds episodes from the history of the monuments themselves through the presence of main characters, ‘macchiette’ (figurines) and an enchanting landscape.

The Mausoleum at Halicarnassus Inv. 1890 n. 5974

The Walls of Babylon Inv. 1890 n. 5973

The Coliseum Inv. 1890 n. 8085

The Temple of Arthemis at Ephesus Inv. 1890 n. 5546

The Pyramids in Egypt Inv. 1890 n. 5547

The Colossus of Rhodes Inv. 1890 n. 5975

The Statue of Zeus at Olympia Inv. 1890 n. 8084

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[internationalemeteorologie]

Jacopo Ligozzi

Cerasti cornuti in lotta (Fighting horned Cerastes). ca. 1577