Lo Store ufficiale del Polo Museale Fiorentino | Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della citta' di Firenze
Size: 25 x 32
Year: maggio 2013
Dal Giglio al David, Arte Civica a Firenze tra Medioevo e Rinascimento. Size: 25x32 cm. Date of publication: May 2013. This catalogue features works of art originally created originally to decorate Florence's public palaces, the buildings that housed the magistrates that governed the city, the headquarters of the Arts - the ancient craft guilds - the circle of city walls. The compilation encompasses town heraldry, civic religion, emblematic places in the city (Palazzo dei Priori, Palazzo del Podesta, Orsanmichele), and dominant political parties (the Anjou, the Arts, the Guelphs and Ghibellines), illustrating the preselected figurative themes present and offering a new interpretation of many works. The importance of images in communication is highlighted, in addition to the propaganda groups who governed and ruled Florence during the communal, republican period (before the rise of the Medici deeply changed the political and aesthetic structure of the city). The featured pieces, therefore, reveal a complex figurative language, filled with allegorical references, where the sacred and the profane combine. In Palazzo dei Priori (now Palazzo Vecchio), you could see images of Saint Christopher and the Ruota della Fortuna; mythological hero, Hercules (present in the official seal of the city of Florence); and of the Jewish hero, David, whose likeness (sculpted by Michelangelo and preserved in the Accademia Gallery) ideally ends the book's course. Most images that withstood the insult of time are religious, as evidenced by the many representations of the Madonna in Majesty; the patron saints; and evangelical episodes such as the Incredulity of St. Thomas, related to the administration of justice and assessment of truth (Giovanni Toscani, Accademia Gallery; detached fresco in Palazzo dei Vicari, Scarperia). Alternatively, some rare Renaissance drawings and the Expulsion of the Duke of Athens fresco (originally in the ancient Stinche prison and now in the Palazzo Vecchio) epitomze the kind of disgraceful mural paintings (located in public places and often with gruesome details) that depicted events and characters hated by the city of Florence. This catalogue is also an opportunity to enhance our appreciation of Florence. It points out the places for which the featured works of art were created, and fosters knowledge and (when possible) use of these locations, mostly unknown to tourists and even to Florentines themselves.
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