{"id":21712,"date":"2024-08-07T09:00:00","date_gmt":"2024-08-07T07:00:00","guid":{"rendered":"https:\/\/areademo.beculture.it\/?p=21712"},"modified":"2024-07-24T11:34:45","modified_gmt":"2024-07-24T09:34:45","slug":"what-to-see-at-palazzo-pitti","status":"publish","type":"post","link":"https:\/\/areademo.beculture.it\/en\/what-to-see-at-palazzo-pitti\/","title":{"rendered":"What to see at Palazzo Pitti: an intriguing journey through art and history"},"content":{"rendered":"\n

Palazzo Pitti is not just the largest of the Florentine palaces; it is also one of the city’s most stimulating locations. Housing five museums spread across its three floors, it boasts artistic treasures and ancient artifacts of diverse origins and priceless value. Through its numerous collections, visitors can trace the key stages of art and culture history, from the Renaissance to the contemporary era: here\u2019s what to see at Palazzo Pitti and the artworks you shouldn’t miss.<\/p>\n\n\n\n

A brief history of the palace, three times a royal residence<\/h2>\n\n\n\n

Palazzo Pitti<\/a> was initially conceived as a private residence by its first owner, Luca Pitti, a wealthy Florentine merchant who commissioned the project to Filippo Brunelleschi. Unfortunately, Pitti died before completing it, leaving the palace unfinished and abandoned for nearly eighty years until 1549, when it was purchased by Eleonora of Toledo, wife of Cosimo I de\u2019 Medici, Grand Duke of Florence. Architect Bartolomeo Ammannati<\/strong> was tasked with extending the building and creating the magnificent Giardino di Boboli<\/a> behind it. This garden has since been intertwined with the palace’s historical and artistic developments. Niccol\u00f2 Tribolo, Giorgio Vasari, and later Bernardo Buontalenti also contributed to the extensive enlargement.<\/p>\n\n\n\n

In 1737, the Medici were succeeded by the Habsburg-Lorraine family, who further expanded the palace, adding two lateral wings that still overlook the namesake square.
In 1860, the palace became part of the Beni della Corona d\u2019Italia’s assets under the Savoia family, who resided there during Florence\u2019s tenure as the capital (1865-1871). In 1919, Vittorio Emanuele III donated Palazzo Pitti, the square, and the Giardino di Boboli to the Stato Italiano<\/strong>, transforming the former royal residence into a museum.<\/p>\n\n\n\n

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Veduta di Palazzo Pitti e del Forte di Belvedere a Firenze<\/em>, Utens Giusto<\/figcaption><\/figure>\n\n\n\n

The collections of Palazzo Pitti: museums and artworks<\/h2>\n\n\n\n

Palazzo Pitti currently houses several museums: the Tesoro dei Granduchi<\/strong>, the Museo delle Icone Russe<\/strong> with the Cappella Palatina;<\/strong> the Galleria Palatina<\/strong> and the Appartamenti Imperiali e Reali<\/strong>, the Galleria d\u2019Arte Moderna<\/strong>, and the Museo della Moda e del Costume<\/strong>.
We begin our visit from the ground floor, proceeding to the second floor, enjoying the picturesque views of the city and Giardino di Boboli as we ascend.<\/p>\n\n\n\n

The Tesoro dei Granduchi (or Galleria degli Argenti)<\/h3>\n\n\n\n

Located on the ground floor and mezzanine of Palazzo Pitti, in the section used by the Medici as a summer residence, the Tesoro dei Granduchi features ancient vases and ceramics, as well as amber, ivory, and rock crystal<\/strong> pieces, set against frescoes created for the 1637 marriage of Ferdinando II de\u2019 Medici and Vittoria della Rovere. Notable are the frescoes by Giovanni da San Giovanni (as their author was nicknamed, Giovanni Mannozzi, born in San Giovanni Valdarno), which create an extraordinary optical illusion with a fake loggia depicted on the ceiling.<\/p>\n\n\n\n

The Argenti also includes the Salzburg Treasure, brought to Florence by Ferdinand III. This collection includes jewelry made between the 1600s and 1900s, enriched in the early 2000s with a section dedicated to contemporary jewelry. Among the most spectacular works is the Vaso con coperchio<\/em> (1626) by Marcus Heiden, known for his refined and eccentric ivory carvings. A work that impresses with its refinement and eccentricity: following the natural curve of the elephant tusk, Heiden creates a vertical composition, where full and empty shapes, voluminous or slenderer, succeed one another in an apparently precarious balance. Admirable and unique in its kind, it testifies to the search for new forms and compositions that characterized all Baroque<\/a> art.<\/p>\n\n\n\n

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Vaso con coperchio<\/em>, Marcus Heiden<\/figcaption><\/figure>\n\n\n\n

The Museo delle Icone Russe and the Cappella Palatina<\/h3>\n\n\n\n

Also on the ground floor, the Museo delle Icone Russe<\/strong>, inaugurated in 2022, houses the oldest collection of such works outside Russia. Like the Tesoro dei Granduchi, it is located in the Medici\u2019s summer apartment, in frescoed rooms celebrating the 1661 marriage of Grand Duke Cosimo III and Marguerite Louise d’Orl\u00e9ans, and houses a rich collection of panel paintings created in provincial Russia<\/strong>. The collection began with the Medici and continued with the Habsburg-Lorraine dynasty until 1761, featuring religious themes<\/strong> and biblical scenes like the Nativity and the Annunciation, along with saint depictions<\/a>.<\/p>\n\n\n\n

The Cappella Palatina<\/strong>, also located here, was commissioned by Pietro Leopoldo of Habsburg-Lorraine in 1766, transforming a former hall into a private worship space. The entire environment underwent a radical change: the altar and the large arched window, the ladies’ corridor, the choir lofts, and the balcony for the grand dukes were added. However, its layout was destined to change again over time, and the chapel was often stripped of its furnishings or neglected, falling into disuse. It stands out today for its beautiful marble altar, decorated with precious stones, gilded bronze, and ivory<\/strong>, and the suggestive paintings by Luigi Ademollo.<\/p>\n\n\n\n

The Galleria Palatina<\/h3>\n\n\n\n

The main floor of Palazzo Pitti is entirely occupied by the Galleria Palatina<\/strong> and the Appartamenti Imperiali e Reali. Featuring over 500 works chosen by the Lorraine family from Medici collections, the gallery offers a unique assortment of masterpieces from the 1500s and 1600s<\/strong>. The paintings, arranged not chronologically but by thematic and chromatic affinity, adorn the walls of the Quadreria, captivating visitors.
Among the treasures, you can admire about 15 paintings by Tiziano<\/a>, numerous works by Andrea del Sarto<\/strong>, Tintoretto<\/strong>, Rubens,<\/strong> Caravaggio<\/strong><\/a>, and the largest concentration of Raffaello<\/a> paintings in the world. Also featured are works by Antonio Canova, Artemisia Gentileschi<\/a>, Giorgio Vasari, Filippino Lippi, and Sandro Botticelli<\/a>.<\/p>\n\n\n\n

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Sala Bianca<\/em>, Galleria Palatina<\/figcaption><\/figure>\n\n\n\n

The ceiling decorations (paintings and stucco) of the stanze dei Pianeti, a 17<\/strong>th<\/sup><\/strong> century work by Pietro da Cortona<\/strong>. The iconographic theme was suggested by Francesco Rondinelli, the grand duke’s librarian, and served to celebrate his fame and deeds as a good ruler. A project that Pietro da Cortona magnificently realized also thanks to some symbolic occurrences<\/strong>. by Pietro da Cortona<\/strong> are equally impressive. Each room is dedicated to an Olympian deity (Venus, Apollo, Mars, Jupiter, and Saturn), featuring the grand duke and Hercules, a symbol of strength<\/strong> and protector of the Medici dynasty, in celebration of the grand duke\u2019s fame and good governance.<\/p>\n\n\n\n

The Appartamenti Imperiali and Reali<\/h3>\n\n\n\n

These apartments, decorated with paintings, sculptures, inlays, and precious stones, offer a sumptuous glimpse into the different disciplines and tastes through the centuries. Initially used (mostly during winter) by the Medici, then the Lorraine, and finally the Savoia, the 14 rooms still boast period furnishings<\/strong>, chandeliers, silk tapestries, and fine drapery. Though some rooms have changed in function and decor over time, they generally served as representative spaces, reflecting the daily life of princes from the 16th<\/sup> to the 20th<\/sup> century. Currently closed for restoration, this area is highly recommended for future visits.<\/p>\n\n\n\n

The Galleria d\u2019Arte Moderna<\/h3>\n\n\n\n

The Galleria d\u2019Arte Moderna occupies the second floor of Palazzo Pitti. Although more modest than the floor below, it is equally noteworthy, having served as a residence for the Lorraine and Savoia families. It houses a collection of paintings and sculptures<\/strong> from the late modern era to the 20th<\/sup> century, amassed through donations and purchases by the Savoia family and a dedicated Commission in the early 1900s. The gallery also offers spectacular panoramic views<\/strong> of the Giardino di Boboli, a perfect backdrop for the masterpieces displayed.<\/p>\n\n\n\n

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La cugina Argia<\/em>, Giovanni Fattori<\/figcaption><\/figure>\n\n\n\n

The collection is primarily composed of Tuscan paintings by the Macchiaioli<\/strong>, featuring works by Giovanni Fattori (as the La cugina Argia<\/em>), Telemaco Signorini, and Silvestro Lega (among which stands out Il canto di uno stornello<\/em>, probably the most famous painting by the 19th-century painter). <\/p>\n\n\n\n

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Il canto di uno stornello<\/em>, Silvestro Lega<\/figcaption><\/figure>\n\n\n\n

Inspired by the nearby Macchiaioli period, Baccio Maria Bacci<\/strong>‘s Pomeriggio a Fiesole (Autoritratto)<\/em> from 1926-29. Here the artist depicts himself sitting at the table in his house in Fiesole, overlooking Florence, together with his wife, the dog, and a couple of friends in a painting that combines various pictorial genres held together by an elegant and informal atmosphere.
Visitors can compare this with another coeval yet stylistically different painting: Felice Casorati<\/strong>\u2019s Lo straniero<\/em> from 1930. Distancing himself from the 20th<\/sup> century avant-garde, during these years the artist embarked on a path of rediscovery of ancient art and authors like Giotto, Masaccio, and Piero della Francesca, with figures set in a dreamlike and timeless context.\u00a0<\/p>\n\n\n\n

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Pomeriggio a Fiesole<\/em> (Autoritratto)<\/em>, Baccio Maria Bacci<\/figcaption><\/figure>\n\n\n\n

Speaking of dreamlike contexts, at Palazzo Pitti it is also possible to admire Composizione metafisica<\/em> (1950) by Giorgio De Chirico<\/strong>. An autograph copy of a similar work, titled Canto d\u2019amore<\/em> created by De Chirico in 1914 (now at the Museum of Modern Art in New York), Composizione metafisica<\/em> testifies to one of the most controversial undertakings by the father of Metaphysical art.<\/p>\n\n\n\n

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Composizione metafisica<\/em>, Giorgio De Chirico<\/figcaption><\/figure>\n\n\n