Giacobbe Giusti, ANDREA del VERROCCHIO, Vierge à l’Enfant (atelier), New York, Metropolitan Museum of Art

 

Giacobbe Giusti, ANDREA del VERROCCHIO, Vierge à l’Enfant (atelier), New York, Metropolitan Museum of Art

Andrea del Verrocchio(Italian pronunciation: [anˈdrɛːa del verˈrɔkkjo]; c.1435 – 1488), born Andrea di Michele di Francesco de’ Cioni, was an Italian painter, sculptor, and goldsmithwho was a master of an important workshop in Florence. He apparently became known as Verrocchio after the surname of his master, a goldsmith. Few paintings are attributed to him with certainty, but a number of important painters were trained at his workshop. His pupils included Leonardo da Vinci, Pietro Peruginoand Lorenzo di Credi. His greatest importance was as a sculptor and his last work, the Equestrian statue of Bartolomeo Colleoni in Venice, is generally accepted as a masterpiece.

Life

Verrocchio was born in Florence in around 1435. His father, Michele di Francesco Cioni, initially worked as a tile and brick maker, then later as a tax collector. Verrocchio never married, and had to provide financial support for some members of his family. He was at first apprenticed to a goldsmith. It has been suggested that he was later apprenticed to Donatello, but there is no evidence of this and John Pope-Hennessy considered that it is contradicted by the style of his early works. It has been suggested that he was trained as a painter under Fra Filippo Lippi.^[1] Little is known about his life. His main works are dated in his last twenty years and his advancement owed much to the patronage of Lorenzo de’ Medici and his son Piero. His workshop was in Florence where he was a member of the Guild of St Luke. Several great artists like Leonardo da Vinci and Lorenzo di Credipassed through his workshop as apprentices; beyond this, artists like Domenico Ghirlandaio, Francesco Botticini, and Pietro Perugino were also involved and their early works can be hard to distinguish from works by Verrocchio.^[2] At the end of his life he opened a new workshop in Venice where he was working on the statue of Bartolomeo Colleoni, leaving the Florentine workshop in charge of Lorenzo di Credi. He died in Venice in 1488.^[3] The name has gradually evolved into the name Verrochi. Andrea is also the several generation grandfather of Italian entrepreneur, Paul M. Verrochi.

 

• Brown, David Alan (2003). Virtue and Beauty: Leonardo’s Ginevra de’ Benci and Renaissance Portraits of Women. Princeton University Press. ISBN 978-0691114569
• Butterfield, Andrew (1997). The Sculptures of Andrea del Verrocchio. New Haven: Yale University Press. ISBN 9780300071948.
• Covi, Dario A. (2005). Andrea del Verrocchio: life and work. Florence: Leo S. Olschki. ISBN 9788822254207.
• Freiberg, Jack (2010): “Verrocchio’s Putto and Medici Love”. David A. Levine, & Jack Freiberg (Eds.), Medieval Renaissance Baroque: A Cat’s Cradle for Marilyn Aronberg Lavin. New York: Italica Press, pp. 83-100.
• Passavant, Günter (1969). Verrocchio: sculptures, paintings and drawings. London: Phaidon.
• Pope-Hennessy, John: Italian Renaissance Sculpture (London 1958)
• Syson, Luke & Jill Dunkerton: “Andrea del Verrocchio’s first surviving panel and other early works” in Burlington MagazineVol.CLIII No.1299 (June 2011) pp. 368–378.
• Wivel, Matthias. “Traces of Soul, Mind, and Body”. The Metabunker. Archived from the original on 15 September 2013. Retrieved 15 September 2013.

 

https://it.wikipedia.org/wiki/Andrea_del_Verrocchio

https://en.wikipedia.org/wiki/Andrea_del_Verrocchio

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Bronze Sculpture Discovered in Georgia Goes on Display in Los Angeles

Giacobbe Giusti, Bronze Sculpture Discovered in Georgia Goes on Display in Los Angeles

An ancient statue dating back to the Bronze Age and discovered in Georgia goes on a display among the ancient world’s masterpieces in Los Angeles.

After the long term collaboration of the Georgian National Museum and J. Paul Getty Museum unidentified bronze statue named Torso of a Youth dated 2nd – 1st century BC, discovered in Vani settlement, wester Georgia were available to go on a display at the exhibition in the J. Paul Getty Museum in Los Angeles.

A major exhibition named Power and Pathos: Bronze Sculpture of the Hellenistic World was open at the Los Angeles Getty Museum on July 28 and will last until November 1.

Before moving to Los Angeles, following exhibition was presented at the Palazzo Strozzi in Florence and after Getty Museum, exposition will move to the National Gallery of Art in Washington.

Other pieces which are exhibited at the Los Angeles Getty Museum are from world’s leading ancient museums, such are the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi and the Museo Archeologico Nazionale in Florence, the Museo Archeologico Nazionale in Naples, the National Archaeological Museum in Athens, the Musйe du Louvre in Paris, and the Vatican Museums.

The exhibition in Los Angeles is organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence and the National Gallery of Art in Washington, with the participation of the Tuscany’s directorate general for archaeology and it represents one of the largest expositions of this kind.

National Museum of Georgia is temporary housing of the statue, but as soon as Otar Lordkipanidze Vani Museum-Reserve will finish its large scale reconstruction works in 2016 the bronze torso of a youth will be returned at the original place.

 

 

 

Georgian National Museum currently takes part in one of the most important international cultural event. From 14 March to 21 June 2015, Palazzo Strozzi in Florence is hosting a major exhibition entitled “Power and Pathos”. Bronze Sculpture of the Hellenistic World, devised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza per i Beni Archeologici della Toscana, Tuscany’s directorate general for archaeology.  The exhibition showcases a host of outstanding examples of bronze sculpture to tell the story of the spectacular artistic developments of the Hellenistic era (4th to 1st centuries BCE).

The exhibition hosts some of the most important masterpieces of the ancient world from many of the world’s leading archaeological museums including the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi and the Museo Archeologico Nazionale in Florence, the Museo Archeologico Nazionale in Naples, the National Archaeological Museum in Athens, the Musée du Louvre in Paris, the Vatican Museums and the Georgian National Museum, which  represented bronze torso of a youth dated 2nd – 1st century BC, discovered in Vani settlement (Georgia).

Participation at the exhibition is due to the long term collaboration of Georgian National Museum and J. Paul Getty Museum. After the exhibition at Palazzo Strozzi, all exponents will be showcased at the National Gallery of Art in Washington and J. Paul Getty Museum in Los Angeles in 2016.

As soon as Georgian National Museum Otar Lordkipanidze Vani Museum-Reserve will finish its large scale reconstructive works, bronze torso of a youth will be returned at the original place.

http://museum.ge/index.php?lang_id=ENG&sec_id=72&info_id=13315

http://georgiatoday.ge/news/938/Bronze-Sculpture-Discovered-in-Georgia-Goes-on-Display-in-Los-Angeles

http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

         

 

Head of Apollo, First century BCE–first century CE, bronze, 51 x 40 x 38 cm. Salerno, Museo Archeologico Provinciale.

By Alain.R.Truong

FLORENCE.- From 14 March to 21 June 2015, Palazzo Strozzi in Florence will be the first venue to host the major exhibition entitled Power and Pathos. Bronze Sculpture of the Hellenistic World organised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza Archeologica della Toscana, Tuscany’s directorate general for archaeology. After Florence, the exhibition will travel to the J. Paul Getty Museum in Los Angeles from 28 July to 1 November 2015 and then to the National Gallery of Art in Washington, DC, from 6 December 2015 to 20 March 2016.

Statue Base signed by Lysippos, End of fourth–beginning of third century BCE, blue-grey limestone, 30 x 70.5 x 70,5 cm. Corinth, 37th Ephorate of Prehistoric and Classical Antiquities.

This important joint venture reinforces Palazzo Strozzi’s international reputation for excellence. The exhibition will showcase – for the first time in Florence – some of the greatest masterpieces of the ancient world from such leading Italian and international museums as the Museo Archeologico Nazionale in Florence, the Museo Nacional del Prado in Madrid, the Museo Archeologico Nazionale in Naples, the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi in Florence, the National Archaeological Museum of Athens, the Archaeological Museum of Heraklion (Crete), the Kunsthistorisches Museum in Vienna, the Archaeological Museum of Thessaloniki, the Musée du Louvre in Paris, the Vatican Museums and the Musei Capitolini in Rome.

Portrait Statue of Aule Meteli (Arringatore), Late second century BCE, bronze, 179 cm. Florence, Museo Archeologico Nazionale.

Power and Pathos features about 50 extraordinary sculptures in bronze and tells the story of the artistic achievements of the Hellenistic era (4th to 1st centuries BC), when new bronze-working techniques were developed, new forms of expression were explored, and a first globalized language of art emerged in the Mediterranean and beyond. In this cosmopolitan climate, Greek art, in effect, became an international phenomenon.

Statuette of Alexander the Great on Horseback, First century BCE, bronze, with silver inlays, 49 x 47 x 29 cm. Naples, Museo Archeologico Nazionale.

The vast Hellenistic empire founded by Alexander the Great stretched from Greece and the borders of Ethiopia to the Indus Valley, embracing Egypt, Persia, and Mesopotamia. Thus its astonishing output in the fields of art, history and philosophy enjoyed extensive dissemination. While the Classical Greek world was based essentially on the polis, or citystate, now art served more than the cities and their citizens and focused instead on the courts of Alexander’s successors. Artists devoted their skills to celebrating the rulers and their achievements, adopting and adapting Classical modes of expression to suit new needs.

Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale.

The exhibition owes its unique character to bronze, an alloy of copper, tin, and often lead, so significant in ancient technology and art that Pliny the Elder dedicated an entire book to this medium. Bronze works are extremely rare today, and the vast majority of large bronzes from the ancient world are lost because they have been melted down over the centuries so that the metal could be used to mint coins and to manufacture arms. Immediately after casting, bronze was so dazzling that it resembled gold.

Head of a Man with Kausia, Third century BCE, bronze, faïence or alabaster, 32 x 27.9 cm. Pothia, Archaeological Museum of Kalymnos.

One of the reasons this show is an unprecedented, once-in-a-lifetime event is that it will allow visitors to admire works never before seen together: the bronze Apoxyomenos from Vienna alongside the Uffizi’s marble version used in its restoration; the two archaising Apollo-Kouroi from the Louvre and from Pompeii. Although all of these “pairs” have frequently been shown together in photographs, this is the very first time that any of them have been displayed side by side. A large number of the bronzes surviving to this day were found in the sea rather than on dry land. Spectacular underwater finds include the figure of a General (Lucius Aemilius Paullus?) found in the sea off Brindisi in 1992, and the Head of a Man with Kausia (discovered in the Aegean off the island of Kalymnos in 1997).

Portrait of a Diadoch (Demetrios Poliorketes?), 310–290 BCE, bronze, 45 x 35 x 39 cm. Madrid, Museo Nacional del Prado.

The discovery of the head of Apollo in the sea off Salerno in December 1930 was poetically described by Nobel Prize laureate Giuseppe Ungaretti: “Night had almost fallen and the anchovy fishermen were returning to port in single file. Gathering up their nets, one of the fishermen found […] a head of Apollo in his net. Holding it up in the palm of his lined hand and seeing it now imbued with new life in the light and appearing to bleed – where it had been severed at the neck – in the fire of the setting sun, the fisherman thought he was looking at St. John the Baptist. I myself have seen it at the Museum in Salerno; it may be by Praxiteles or possibly Hellenistic […] its indulgent and quivering smile hinting at an ineffable song of youth restored to life!”

Portrait of Arsinoë III, Late third century–early second century BCE, bronze, 30 x 20 x 30 cm. Mantua, Museo Civico di Palazzo Te.

Unlike Classical artists, who sought to convey a sense of balance and serenity, Hellenistic sculptors aimed to capture the full range of human feelings, from anger and passion to joy and anguish. They typically emphasised pathos, or lived experience, in the figures they depicted, and we find this also in the portraits of the men who rose to power in Alexander’s wake. Such portraits were designed to bolster the sitters’ legitimacy and dynastic connections through a combination of individual features both dramatic and idealised. Statues of athletes such as the so-called Apoxyomenos—a figure shown after the competition, holding a small curved instrument called a strigil used to scrape off sweat and dirt from the body— focus on the nude male body in its various forms. Artists no longer represent wholly idealised forms, as in the Classical era, but depict momentary details that vividly express physical and emotional states.

Statue of a Man, Second century BCE, bronze, 127 x 75 x 49 cm h. 30 cm (head). Brindisi, Museo Archeologico Provinciale “F. Ribezzo”.

Curated by Jens Daehner and Kenneth Lapatin of the J. Paul Getty Museum in Los Angeles, the exhibition offers a comprehensive overview of the Hellenistic bronze sculpture in its larger archaeological, cultural and geographical environments.

Portrait of a Man, First century BCE, bronze, 29.5 x 21.5 x 21.5 cm. Malibu, J. Paul Getty Museum.

Monumental statues of gods, athletes, and heroes will be displayed alongside portraits of historical figures—including select sculptures in marble and stone—in a journey allowing visitors to explore the fascinating stories of these masterpieces’ discovery, often at sea (Mediterranean, Black Sea) but also in the course of archaeological digs, thus setting the finds in their ancient contexts. Those contexts could be a sanctuary where they were used for votive purposes, a public space where they celebrated personalities or events, a home where they fulfilled a decorative function, or a cemetery where they commemorated the deceased. A unique feature of the Palazzo Strozzi exhibition is that it sets the works in context by also probing and exploring the production and casting processes and the finishing techniques adopted.

Statuette of a Ruler as Hermes or Perseus, First century BCE–first century CE, bronze, with base 80 x 30 x 25.4 cm. Naples, Museo Archeologico Nazionale.

Statue of a Young Man, Third–fourth century BCE, bronze, 152 x 52 x 68 cm. Athens, Ephorate of Underwater Antiquities.

Statuette of Hermes, c. 150 BCE, bronze, 49 x 20 x 15 cm. London, The British Museum.

Statuette of the Weary Herakles, Third century BCE or first century CE (?); copy of a fourth-century BCE bronze by Lysippos, bronze, silver, 35.9 x 17.5 x 14 cm h. 39 cm with base. Chieti, Museo Archeologico Nazionale d’Abruzzo.

Statuette of an Artisan, Mid-first century BCE, bronze, silver, 40.03 x 13 x 10.8 cm. New York, The Metropolitan Museum of Art.

Statuette of Herakles Epitrapezios (Herakles seated), First century BCE–first century CE, bronze, limestone, 75 x 67 x 54 cm h. 95 cm with base. Naples, Museo Archeologico Nazionale.

Statue of Eros Sleeping, Third–second century BCE, bronze, 41.9 x 85.2 x 35.6 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, End of second–beginning of first century BCE, bronze, glass paste, black stone, 32.5 x 22 x 22 cm. Athens, National Archaeological Museum.

Portrait of a Bearded Man, c. 150 BCE, marble, 40.7 x 25 x 31.7 cm. Malibu, J. Paul Getty Museum.

Head of a Votive Statue, 375–350 BCE, bronze, 24.3 x 15.5 x 15.5 cm.London, The British Museum.

Portrait of a Man, Late fourth–third century BCE, bronze, copper, glass paste, 26.8 x 21.8 x 23.5 cm. Paris, Bibliothèque nationale de France.

Portrait Statue of a Young Ephebe, First half of the first century BCE, bronze, with base 140 x 57.2 x 45.1 cm. Heraklion, Archaeological Museum.

Portrait Statue of an Aristocratic Boy, Augustan period (27 BCE–14 CE), bronze, 132.4 x 50.8 x 41.9 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, First century BCE, bronze, 43 x 26 x 25 cm. Naples, Museo Archeologico Nazionale.

Bust of a Man (Lucius Calpurnius Piso Caesoninus Pontifex), Late first century BCE–early first century CE, 46 x 28 x 23 cm. Naples, Museo Archeologico Nazionale.

Portrait of a Man, 50–25 BCE, bronze, copper, marble, 32 x 22 x 22 cm h. 22.5 cm (head). Copenaghen, Ny Carlsberg Glyptotek.

Statue of an Athlete (Apoxyomenos from Ephesos), 1–50 CE, bronze, 205.4 x 78.7 x 77.5 cm. Vienna, Kunsthistorisches Museum.

Head of an Athlete (Ephesos Apoxyomenos type), Second century BCE–first century CE, bronze, 29.2 x 21 x 27.3 cm h. 51.4 cm with base. Fort Worth, Kimbell Art Museum.

Statue of an Athlete (Ephesos Apoxyomenos type), Second century CE, marble, h. 193 cm. Florence, Galleria degli Uffizi.

Torso of an Athlete (Ephesos Apoxyomenos type), First century CE, basanite, h. 110 cm. Castelgandolfo, Musei Vaticani, Villa Pontificia, Antiquarium.

Herm of Dionysos (Getty Herm), Workshop of Boëthos of Kalchedon (attributed), Second century BCE, bronze, copper, calcitic stone, 103.5 x 23.5 x 19.5 cm. Malibu, J. Paul Getty Museum.

Athena (Minerva of Arezzo), 300–270 BCE, bronze, copper, 155 x 50 x 50 cm. Florence, Museo Archeologico Nazionale.

Medallion with the Bust of Athena, c. 150 BCE, bronze, white glass paste, 27.2 x 27.1 x 19 cm. Thessaloniki, Archaeological Museum.

Head of Aphrodite (?), First century BCE, bronze, 37x 30.5 x 29 cm. London, The British Museum.

Statue of Apollo (Piombino Apollo), 120–100 BCE, bronze, copper, silver, 117 x 42 x 42 cm. Paris, Musée du Louvre.

Statue of Apollo (Kouros), First century BCE–first century CE, bronze, copper, bone, dark stone, glass, 128 x 33 x 38 cm. Pompeii, Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia.

Torso of a Youth (The Vani Torso), Second century BCE, bronze, 105 x 45 x 25 cm. Tbilisi, Georgian National Museum.

Herm Bust of the Doryphoros, Apollonios (active late first century BCE), Late first century BCE, bronze, 58 x 66 x 27 cm. Naples, Museo Archeologico Nazionale.

Ephebe (Idolino from Pesaro), c. 30 BCE, bronze, copper, lead, h. 148 cm h. 300 cm with base. Florence, Museo Archeologico Nazionale.

Bust of an Ephebe (Beneventum Head), c. 50 BCE, bronze, copper, 33 x 23 x 20 cm. Paris, Musée du Louvre.

Spinario (Spinario Castellani), c. 25–50 CE, marble, cm 69 x 40,5 x 35. London, The British Museum.

https://francescarachelvalle.wordpress.com/2015/03/15/firenze-potere-e-pathos-bronzi/

http://alaintruong.canalblog.com/archives/2015/03/14/31700771.html

http://www.giacobbegiusti.com

Giacobbe Giusti, KRAFT UND PATHOS: BRONZEN DER HELLENISTISCHEN WELT

Giacobbe Giusti, KRAFT UND PATHOS:BRONZEN DER HELLENISTISCHEN WELT

 

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 PATHOS:BRONZEN DER HELLENISTISCHEN WELT

14 März 2015

Die Ausstellung im Palazzo Strozzi, erzählt die künstlerischen Entwicklungen der hellenistischen Zeit (IV-I Jahrhundert vor Christus), durch außergewöhnliche Bronzestatuen. Zu sehen sind einige der größten Meisterwerke der Antike von den wichtigsten archäologischen Museen italienischen und internationalen.

Monumentale Statuen von Göttern, Sportler und Führungskräfte sind mit Porträts historischer Persönlichkeiten gepaart, den Weg, der den Besucher in der Analyse der Produktionstechniken führen wird, Gießen und Veredelung aus Bronze und entdecken Sie die Geschichten von den Ergebnissen dieser Meisterwerke.

In sieben thematische Abschnitte unterteilt, öffnet sich die Ausstellung mit der großen Statue von Arringatore, ein Teil der Sammlung von Cosimo I. de ‘Medici und der Sockel der Statue von Lysippos, im Jahre 1901 in Korinth gefunden.

Setzt sich mit der Übersicht über die Portraits der Macht, die die Bildnisse der einflussreichsten Menschen der Zeit bietet. Ausgestellt außergewöhnliche Beispiele, wie die Figur von Alexander dem Großen zu Pferde, der Kopf-Porträt von Arsinoe III Philopator, die eines Diadochus und die einer wahrscheinlichen General.

Der vierte Abschnitt mit dem Titel “Realismus und Ausdruck” analysiert die einzelnen Porträts, die Verwendung von Inlays und Farbe, um ein natürliches Aussehen zu erhalten und betont das Pathos und andere Formen der Charakterisierung, wie wir in dem Bild des jungen Aristokraten und viele andere zu sehen Heads-Porträt männlich.

Der fünfte Abschnitt “Replicas und Mimesis”, wollen die Idee von der Kapazität der Bronze geben mehrere “Original” zu schaffen, hat in der Tat, Reproduktionen von hellenistischen Werken in den Folgeperioden, die Nachahmung der Bronze in der dunklen Stein und andere Aufbewahrungs Bronzen auf See von den in der Erde gefunden.

Der sechste Abschnitt “Divinity”, mit Werken von außergewöhnlicher Schönheit, einschließlich der Minerva Arezzo, das Medaillon mit der Büste der Athena und dem Kopf der Aphrodite.

Schließlich ist der siebte Abschnitt “Stile der Vergangenheit”, will ein neues Interesse an den archaischen und klassischen Modellen zusammen mit dem Stilmix späthellenistischen entdecken. Zu den wichtigsten Beispiele für die so genannte Idolino Pesaro und dem Apollo der Louvre in Paris.

PALAZZO STROZZI

-Palazzo Strozzi, Florence, Italy
March 14 – June 21, 2015
http://www.palazzostrozzi.org
-J. Paul Getty Museum, Los Angeles, CA
July 28 – November 1, 2015
http://www.getty.edu
-National Gallery of Art, Washington, D.C.
December 6, 2015 – March 20, 2016

http://www.nga.gov/content/ngaweb/exhibitions/2015/power-and-pathos.html

 

http://de.madeoftuscany.it/de/ereignisse-florenz/kraft-and-pathosbronzen-der-hellenistischen-welt_210/

http://www.giacobbegiusti.com

Giacobbe Giusti: Power and Pathos

Giacobbe Giusti: Power and Pathos

Apollo (Kouros). [Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia]

After the great success of the Picasso exhibition, the halls of Palazzo Strozzi are once again open with an international event: POWER AND PATHOS. Bronze sculpture of the Hellenistic world.

The exhibition just opened and will run through the end of June. It offers a truly unique opportunity to enjoy the fruits of prestigious collaborations (between the Fondazione Palazzo Strozzi, the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington DC and the Superintendence for Archaeological Heritage of Tuscany, Tuscany’s directorate general for archaeology). Works are on loan from some of the most important museums in the world (the British Museum in London, the Metropolitan Museum of Art in New York, the Uffizi in Florence and the National Archaeology Museum, the National Archaeology Museum in Naples and in Athens, the Musée du Louvre in Paris and the Vatican Museums).

You can probably already tell why this event is exceptional, but if you need further convincing…

Here are 5 reasons why POWER AND PATHOS is the must-see exhibition for 2015:

1 – This outstanding showcase of bronze sculptures tells us the story of artistic developments of the Hellenistic era (4th to 1st century BCE), when new forms of expression began to prevail throughout the Mediterranean basin and beyond. The use of bronze, with its unique characteristics, allowed artists to impart an unprecedented level of dynamism in their full-figure statues and add naturalism to their portraits.

2- This is a once-in-a-lifetime chance to see some of the greatest masterpieces of the ancient world which have never been displayed together. There are about 50 extraordinary sculptures in bronze – monumental statues of gods, athletes and heroes, alongside portraits of historical figures – made even more special by the fact that the vast majority of large bronzes have been lost. Over the centuries, they’ve been melted down so that their metal could be used in making coins or arms.

3- The Fondazione Palazzo Strozzi’s mission is “not just exhibition”! This is in fact a workshop of new ideas and fun, unconventional ways of experiencing art. Every exhibition is always coupled with a rich programme of activities and events for families, children and adults. This time the tireless promoters of Palazzo Strozzi came up with not one, but three ways to visit the exhibition (and a mystery to solve). Play at being an “art detective”: choose to visit the exhibition as an archaeologist, a forger or a collector, using the special kit specifically designed for each one of the three roles. Then, try to solve the Mystery of the Missing Statue, using the information gathered in the course of the visit!

4- In addition to Palazzo Strozzi’s exhibition, another important and complementary exhibition is being hosted, from March 20 to June 21, by the National Archaeology Museum in Florence: Great Small Bronzes. Greek, Etruscan and Roman Masterpieces. This is an incredible collection gathered over the course of three centuries by the Houses of Medici and Lorraine.

5– 2015 in Tuscany has been declared “the Year of Archaeology”, with countless events throughout the Region. It is no coincidence that the “passport,” which is paired with all of Palazzo Strozzi’s exhibitions, is dedicated to Archaeology in Tuscany this time around. It takes you on a journey to some of our most important museums and archaeological sites.
http://www.turismo.intoscana.it/allthingstuscany/tuscanyarts/power-and-pathos-florence/
http://www.giacobbegiusti.com