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#The courtyard of the Palazzo Vecchio
imkeepinit · 3 months
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Il cortile di Palazzo Vecchio by Antonietta Brandeis
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pintoras · 2 years
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Antonietta Brandeis (Czech, 1848-1926): The courtyard of the Palazzo Vecchio, Florence (via Bonhams)
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metmuseum · 2 months
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Courtyard of the Palazzo Vecchio, Florence. 19th century. Credit line: Bequest of Susan Dwight Bliss, 1966 https://www.metmuseum.org/art/collection/search/338442
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rearte2 · 1 year
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The Courtyard of the Palazzo Vecchio, Florence, 1891 by Josef Theodor Hansen
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The First Courtyard of the Palazzo Vecchio, designed in 1453 by Michelozzo.
On top of the fountain is Putto with Dolphin by Verrocchio.
On the walls frescoes were painted of Austrian cities by Giorgio Vasari in 1565.
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lmckeown3 · 3 months
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Blog #5/Jan 9. Proportions in architecture: Identify and discuss two separate buildings in Florence that you feel meet Alberti's ideal of "harmony of proportions." Another building which meets Alberti’s ideal of harmony is the Basilica di Santa Croce. It almost directly resembles the Novella with the big circles in the middle that are a 3:1 proportions to one half of it. And are equally split in half vertically by two giant main doors. It is also flanked by two outside marble triangles on the highest columns above the two outer most doors. Those two triangles and half the size of the big middle triangle giving them a proportion of 2:1. All in all the Santa Croce is very similar to the novella. Secondly not necessarily the outside, but the inside of the Palazzo Vecchio also represents the harmony of proportions. The inside is a long rectangular prism and the inside is decorated with many coffers, columns and archways. The middle archway looking toward the tunnels end is flanked by two smaller archways that are in a 2:1 relationship with its surrounding archways. Also the coffers on the ceilings are in a 2:1 proportional relationship with the windows on the side of the prism. The Palazzo Vecchio's harmony of proportions extends to its overall layout as well. The proportions of the courtyard are carefully designed to create a sense of balance and symmetry. Overall, the Palazzo Vecchio in Florence is a stunning example of architectural harmony. Its proportions, both exterior and interior, are meticulously crafted to create a sense of balance, order, and beauty.
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twistofitalian · 4 months
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Thinking of the interior courtyard of the Palazzo Vecchio in Florence
Ah, Firenze! I miss you so!
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designsimply · 1 year
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David (1502-1504)
In 1501 a large rough-cut piece of marble was commissioned to a young, 26-year-old, Michelangelo. Having been cast aside by two prior artists, the stone had been abandoned in the elements for 25 years, waiting to be finished. Michelangelo finished the statue within two years and had to work within the stone's narrow confines and the roughed-out pieces cut before his time.
From the Statue's caption: "At the end of 1501, Michelangelo obtained the permission of the Opera del Duomo to work a block of marble which had been abandoned in the courtyard of the Cathedral of Florence for the creation of the figure of the young hero, subsequently placed in front of Palazzo Vecchio in Piazza Signoria." (Academia Gallery, Florence)
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Virtual Sketchbook 3
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The Ringling Museum of Art has thousands of paintings inside it with all kinds of genres, and stories to tell. Although, what interested me most about my visit was not the artworks themselves but the building that holds them. The architecture of the building has a beautiful, timeless, design that makes the area look very open and inviting. Today, I am going to be focusing on the outside of the building and the courtyard area.  
Located on a 66-acre of land, this pink “U” shaped building was designed by architect John H. Phillips. The building contains large archways that surround the courtyard garden. Inside the courtyard, you will find a replica of the “David” statue by Michael Angelo which was created in Florence, Italy by sculptor, Palazzo Vecchio. There are also many sculptures that look over the courtyard located on top of the roof. The archways that surround the outside of the building have tall ceilings known as “Groin Vault” ceilings. These large ceilings and supporting columns around the building indicate the smooth flow, as well as the rhythm of the museum's directional, sort of tunnel-based, walkway. The pale pink, marble-finished structure flows perfectly with the outside area that it encloses. The colors from the building to the structural columns, and the flooring, all pull together nicely creating unity.  
The work of this museum’s architectural design makes me feel at peace. It is a very relaxing setting but also takes you back in awe due to all of the time, thought, and work that is put into making the courtyard flow together with the sculptures and garden located in the center of the structure. My favorite part is the “Rennaissance” sort of vibe that I got from the columns connecting to the high ceilings. Another thing that makes the building feel so warm and welcoming is the well-kept garden, which encases the classic “David” replica.   
The history of this building dates back to 1925. John Ringling got together with the endowed architect, John H. Phillips, who had worked on the Metropolitan Museum of Art and Grand Central Terminal” (Ringling Blog 2017). Inspired by Phillips Italian design, Ringling decided on the color and shape of the building based on Italian Renaissance Palaces. According to the Ringling official website, the sculptures on top of the roof tie in with Baroque and Palladian architectural buildings. The purpose of the building was for Ringling to display all of the artworks that he has collected from his travels throughout the world. From research, some people say that the museum takes about 4 hours to walk through in order to observe and take in all of the pieces inside. 
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The courtyard of the Palazzo Vecchio, (detail)
Antonietta Brandeis (Czech, 1849-1926)
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parure-d-insomnie · 3 years
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Inside the Courtyard of the Palazzo Vecchio, Florence, Italia.
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michelangelob · 3 years
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Il Cortile di Michelozzo affrescata dal Vasari in occasione delle nozze fra Francesco I de' Medici e Giovanna d'Austria . . 📸 by @franksyphotos . . . . #Michelangelobuonarrotietornato #Michelangelo #Vasari #antoniettabandelloni #firenze #ultrawide #visitflorence #art #columns #piazzadellasignoria #volgofirenze #volgotoscana #yallerstoscana #vivofirenze #theflorentine #cortilepalazzovecchio #courtyard #tuscany #tuscanygram #puttocondelfino #andreadelverrocchio #discovertuscany #ig_toscana #ig_toscana #italy #ilovetuscany #welcometotoscana #tuscamo #vivotoscana #firenze🇮🇹 (presso Palazzo Vecchio) https://www.instagram.com/p/CUAgCZQowEk/?utm_medium=tumblr
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pintoras · 3 years
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Antonietta Brandeis (Czech, 1848 - 1926): The courtyard of the Palazzo Vecchio (via Bonhams)
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valyrian-ruins · 4 years
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Imagine, Dracula hasn’t committed suicide and had discovered a whole new life without his fear of sun. He makes a trip in Europe to taste all the flavors the 21th century have to him and he meet you, a vampire from the Medici family, in Florence. He tried to court you but you’ve never been one to fall easily for the flirtarious men but he is the first you met who’s sincerly concerned about you.
The Palazzo Vecchio was closed since one hour and, unlike your colleagues, you were always there a long time after the clôture time. You knew this place since forever, since you were a little girl during the fastuous period of the Medicis, your family. Oh, the Palazzo has changed through the century and even if you knew it from the underground to the frames it was always the greatest pleasure to have it just for yourself.
You were in the first courtyard, conceived by Michelozzo. The soft lights illuminated the frescoes in a wonderful way and were giving a delicate atmosphere to the place in this soft august night. Suddenly, your heightened hearing perceived the muffled noise of someone’s footsteps. Keeping them in your back, it took you less than a second to recognise the manly and bloody fragrance of this « tourist » of a certain kind. Your eyes had never left the frescoes you knew however by heart when you spoke.
« First of all, it’s illegal to enter in the museum after closing time and second, it’s very rude to creep behind a lady unannounced, Count. »
When you've decided to face him, a little smirk on you delicate lips, you found the Count only inches from your face. You can’t deny that he was charming and very alluring, the two of you hadn't more than a few decades apart and he certainly new how to court a lady. But in all your education from the Renaissance and in all your immortal life, you’d met enough of men like him, full of arrogance and so sure of themselves that it takes more than a dark and charming gaze to have you.
« Am I unannounced when I come here every night to have a private tour with the conservator herself ? I know you love my secret visits Signora Medici. »
It was amusing to see that the « Italian Diet » was making wonders on his eastern Europe accent. When his Italian was previously pretty harsh on the edges, it was now completely perfect and she wasn’t new to the fact that tasting the language was more efficient than learning it. Taking his arm like every night for two months now, the pair of you started your daily private tour of the palazzo, always finding a new discussion subject. Yesterday it was about your human life and tonight, the count decided to ask more personals questions and subjects.
« Tell me Y/N, how a lady from such a famous family during the Renaissance has never been married ? I can't think about a man resisting to such a perfect example of Italian charm… »
A little laugh escaped your lips to his charming tone. You were waiting for this question since the Count’s first visit in the Palazzo but he was pretty patient for a man like him but again, he was a predator and he was used to wait for the right moment with his prey.
« I can return the question Signore, the charm question in less…I’m pretty surprised that you ask it only now. I was married at the age of twenty four, pretty late if you were listening to my father. He was all of what an aristocrat could dream for his family but since he was a friend of the Pazzi, I lost my life because of him like my uncle Giuliano during the Pazzi’s conspiration.
- You’re saying that like it was nothing, to be killed by your husband for political conflict, like you were responsible for the Pazzi demise… I’m not the most admirable in term of taking care of my brides but…I can’t stand that fact, the fact that you were slaughtered for something like that. » He makes a stop to look a you, his hand tenderly putting a (Y/H/C) strand of your hair out of your gracious face.
For the first time, you saw something in his eyes making you think that, maybe, he wasn’t only a charming predator. Never, in all of the beings, you’ve met, no one has reacted like him. Like your death was a true waste, like your death should have been more peaceful. Taking his hand in yours, you looked a him with a little smile.
« There’s no point to be angry about something I can’t change and maybe, it’s not that bad because of all the opportunities that were given to me this way…And your visits would have been deadly silent and uninteresting without me. »
Standing on the tip of your toes, you gave a quick kiss on the corner of his lips before flashing far away from him in the Gallery.
« Come my Lord, the night is ours. » ( GIFS are not mine ♡) 
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Courtyard of the Palazzo Vecchio, Florence, Unidentified Artist, 19th century, Harvard Art Museums: Drawings
Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall Size: 16.3 x 21.8 cm (6 7/16 x 8 9/16 in.) Medium: Brown ink, brown wash and graphite, framing lines in graphite, blue and red crayon. on cream wove card
https://www.harvardartmuseums.org/collections/object/299774
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italianartsociety · 4 years
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A Case of Teenage Diplomacy: Galeazzo Maria Sforza’s First Impression of the Medici Palazzo
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In the Spring of 1459, the teenage Galeazzo Maria Sforza (heir to the Duchy of Milan) was present in Florence, being one of the members of a dignified retinue that would escort Pope Pius II onwards from Tuscany to Mantua. The Medici had apparently played an important role in financing the neophyte Sforza dynasty, as Galeazzo Maria’s father Francesco, a former mercenary, was keen to simultaneously modernise and beautify the city of Milan (by way of magnificent expenditure) and legitimise his de facto position within the duchy as the Sforza dukes would not obtain official investiture until the quattrocento was coming to a close. 
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Accordingly, when Galeazzo Maria Sforza wrote to his parents concerning the newly constructed Medici palazzo, the praise levelled at the Cosimo “il Vecchio” de’ Medici’s new home may well have been a veritable recollection of youth. However,  it was also perhaps a politely diplomatic response that reflected the extent of the Sforza’s financial reliance on this Florentine clan. 
I took leave of their lordships and finally, accompanied by the above mentioned crowd of gentlemen and peopl, all of whom were on holiday by public proclamation as if it were Easter Day, arrived here at the house of the magnificent Cosimo, where I discovered a house that is both in terms of the beauty of its ceilings, the height of its walls, the high finish of the entrances and the windows, the number of bedchambers and reception rooms, the ornateness of the studies, the worth of the books, the neatness and gracefulness of the gardens, and in terms of the tapestry decorations, chests of inestimable workmanship and value, majestic sculptures, designs of infinite kinds as well as of priceless silver, the most beautiful I may ever have seen, or believe it possible to see... 
I visited the esteemed Cosimo who I found in one of this chapels which lacked nothing of the ornateness and beauty of the rest of the house...
On return to the house I dined in the garden of the esteemed Cosimo under a loggia. In fact it gave me the greatest of pleasure to see this garden again. In my opinion it is the most beautiful and most ornate I have ever seen. 
The images below represent a small portion of the architecture and objects that Galeazzo Maria may have seen and been impressed by. It must be stressed however, that there have been many additions and changes made to the palazzo and its internal decorations since the quattrocento. Furthermore, some artworks that were once housed within the confines of the palazzo in Cosimo “il Vecchio’s” era, can now be located in other civic settings. Further still, some of the internal decorations may still have been in progress during the 1459 visit. 
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Images: 
Image of the Palazzo Medici Riccardi: Courtyard by Michelozzo di Bartolomeo, 1445-60, Palazzo Medici Riccardi, Florence. Web Gallery of Art. 
Piero del Pollaiuolo, Portrait of Galeazzo Maria Sforza, c. 1471, tempera on panel, Galleria degli Uffizi, Florence. Web Gallery of Art. 
View of the Chapel with frescoes by Benozzo Gozzoli, 1459-60, Palazzo Medici Riccardi, Florence. Web Gallery of Art. 
A Further View of the Chapel with frescoes by Benozzo Gozzoli, 1459-60, Palazzo Medici Riccardi, Florence. Web Gallery of Art. 
The Palazzo Medici Riccardi at Night. Wikimedia Commons. 
Donatello, David, 1430s, bronze, height, Museo Nazionale del Bargello, Florence. Wikimedia Commons.
Donatello, Judith and Holofernes, 1455-60, bronze, Palazzo Vecchio, Florence. Wikimedia Commons.
Giovanni di Ser Giovanni Guidi (called Scheggia), Birthing Tray of Lorenzo de’ Medici showing The Triumph of Fame, c. 1449, tempera, silver and gold on wood, The Metropolitan Museum of Art, New York. Purchase in memory of Sir John Pope-Hennessy: Rogers Fund, The Annenberg Foundation, Drue Heinz Foundation, Annette de la Renta, Mr. and Mrs. Frank E. Richardson, and The Vincent Astor Foundation Gifts, Wrightsman and Gwynne Andrews Funds, special funds, and Gift of the children of Mrs. Harry Payne Whitney, Gift of Mr. and Mrs. Joshua Logan, and other gifts and bequests, by exchange, 1995. Public Domain. 
Image of The Walled Garden at the Palazzo Medici Riccardi. Wikimedia Commons.
Fra Filippo Lippi, Adoration of the Child, c.1459, oil on panel, Staatliche Museen, Berlin. Web Gallery of Art. 
Paolo Uccello, Niccolò da Tolentino Leads the Florentine Troops, 1450s, tempera on wood, The National Gallery, London. Web Gallery of Art. 
References:
Jardine, Lisa and Brotton, Jerry, Global Interests: Renaissance Art Between East and West, London: Reaktion Books, 2000.
Kent, Dale V., Cosimo De' Medici and the Florentine Renaissance: The Patron's Oeuvre, London: Yale University Press, 2000. 
Neville, Jennifer, Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy, Bloomington and Indianapolis: Indianapolis University Press, 2004.
https://www.palazzomediciriccardi.it/en/
Sforza, Galeazzo Maria, “Letter to His Parents (1459).” In Peter Elmer, Nick Webb and Roberta Wood (eds.), The Renaissance in Europe: An Anthology, London: Yale University Press in association with The Open University, 2000, p. 226. 
Trexler, Richard C., Public Life in Renaissance Florence, London: Cornell University Press, 1980. 
Posted By Samantha Hughes-Johnson. 
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