Visiting the Uffizi Gallery? Make sure to see these works.
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Brilliant golden brocades. Psuedo-Arabic. Turbans. Leopards and lions. The Adoration of the Magi speaks to the global flow of goods at this time.
Set against gleaming gold, Mary and Christ sit on an intricately carved throne studded with gems.
Three men arrive to bless Christ. Are they wise—or just rich? Better defer to that young painter in the crowd...
She fled France in disguise, but Vigée Le Brun does little to conceal her face—or her sympathy to Marie Antoinette.
No wonder Ruysch treats each element of this still life like a scientific specimen—her father preserved insects.
This huge panel hints at the coming Renaissance, but the figures remain weightless and their features, elongated.
Only decades apart—but what a difference. Next to Giotto’s substantial Virgin, Cimabue’s appears flat yet elegant.
That shell! That pose! That wind! So much in this painting seems impossible, not least its divine beauty.
Mother and son gaze out with an aristocratic aloofness, yet they lack an inner life. Is all that brocade a shell?
The female nude emerged as a genre in the Renaissance. With her soft, sensual flesh, this Venus is a prime example.
Inside and outside, these panels are suffused with symbolism and the two stark profiles exude formality and power.
The receding columns and painted ceiling of this fictive temple mirror the Gothic environment of Siena Cathedral.