Remarks
The paintings are arranged in chronological order, following the evolution of pictoral (mainly Tuscan) art up to the late 17C. Gradually leaving Byzantine influences behind, three painters gave renewed vigour to Italian painting, Cimabue, Duccio and, above all, Giotto, are represented with paintings of the Madonna. The Gothic inspiration of the Siena school is symbolised by Simone Martini (the Annunciation). Paolo Uccello's Battle of San Romano leads into the abundant Renaissance period where geometrism and volumes reflect the search for perspective. The same effort can be perceived in paintings by Masaccio (his frescoes can be admired in the Brancacci chapel) and Pierro della Francesca (Cycle of the Cross of Arezzo). Pollaiolo, with his hieratic portraits, seems to take a step back. However, with Filippo Lippi and his diaphanous, intricately-draped virgins, emerges the work of Sandro Boticelli, a great source of pride for the museum, represented here by ten or so paintings, among them Primavera and the Birth of Venus. Next came the transition to the second Renaissance embodied by Leonardo da Vinci: his famous Annunciation and Adoration of the Magi pave the way to Michelangelo's (Holy Family), Raphael's (Virgin of the Goldfinch), Andrea del Sarto and Titian and his Venus of Urbino. There is also a collection of German Renaissance paintings by Dürer, Altdorfer, Cranach and Holbein, not forgetting the Portinari triptych by the Bruges painter, Hugo van der Goes. Leaving the Renaissance behind, the visit concludes with Tintoretto, Veronese, Rubens and, finally Caravaggio's Adolescent Bacchus.