There is no trace of the composed reassurance found in much Renaissance art in the gaunt face of the Penitent Mary Magdalene that once stoodin the hermitage of Santa Maria Maddalena in Cascio, in Garfagnana. In this glazed terracotta sculpture, the s...
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An extraordinary and rare drawing on paper by Perin del Vaga ( Piero di Giovanni Bonaccorsi; Florence, 1501 – Rome, 1547) has resurfaced on the market, brought to the Florence International Antiques Biennale by the Genoa-based gallery Goldfi...
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Two vases made in Florence during the second half of the sixteenth century bring to the forefront one of the most remarkable undertakings of the court of Francesco I de’ Medici: the attempt to produce in Europe the porcelain that had been impor...
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Archival research, when conducted with expertise and diligence, always yields positive results: this is evident from the research that Giuseppe Petralia conducted in various archives on topics related to the medieval history of Tuscany and Pisa, with...
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That there is still so much to discover about the Renaissance —and that what we know is only a tiny fraction of the story—is clearly evident in an enigmatic tondo that the Galleria Brun is presenting this year at the 34th edition of the Florence Inte...
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For nearly two centuries, all trace of Gaudenzio Ferrari’s (Valduggia, 1475 – Milan, 1546) *Saint Anthony of Padua* had been lost. The panel was part of an altarpiece intended for the high altar of the Church of Santa Chiara in Milan, and...
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The title of the major Allegri exhibition in Dresden is surprising; it certainly stands apart from any other current designation for an art event, particularly one focusing on historical art. There is no doubt that, over the generations, certain inti...
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For five hundred years, the paintings of Antonio Allegri—who went down in history as Correggio, after his hometown—have continued to captivate viewers with the sensuality of their figures, the luminosity of their scenes, the brilliance of their color...
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