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The Uffizi is the first museum in history. The huge museums of the world, for example, Louvre or Metropolitan in New York are full of arts from other countries. The Uffizi shows its own arts developed in Florence from the 14th to the 16th century. Since the display of the Uffizi begins from Giotto and reaches to Raphael and Mannerists in the chronological order, the visitors can appreciate the masterpieces of the Renaissance painting in the systematic and comfortable situation. But the imagination that the visitors may happen to be in the very historical site of the Renaissance period is only an illusion, and we are, in fact, in the 21st Century appreciating the displayed culture of the 20th Century.
The Uffizi was originally built in order to be used as an office building. The origin of the Uffizi museum begins in 1581 when Francesco I gathered the Medici’s collection in the gallery on the 3rd floor. The drawings of the 18th century shows the Uffizi in those clays. The ancient sculptures are displayed in three galleries and portraits of the famous men(illustri uornini) are fully decorated on the upper part of the wall. The bigger portraits of the Medici’s ancesters are displayed in the middle of the wall between the doors.
There had been not only the rooms for paintings but also a lot of arsenals, the rooms for science, treasures and ceramics until the middle of the 18th century. The Uffizi was the place to show off the valuable articles of the monarch and Tribuna was the room where the most valuable things were displayed. In Tribuna were there the paintings by Raphael and his School and the ancient sculptures of Roman emperors and Greek gods.
Tempietto in the center of the room made of precious stones with various colours was the most important treasure at that time, because it was ‘artificialia’ completed through human hands with the products of ‘naruralla’
It was the late 18th century when Enlightenment and Academism of Art were spread out that all the pieces displayed in the rooms of science, arms and minerals were classified and sent to various other museums. The Uffizi underwent the most drastic change in its history of 400 years under the Austrian enlightened monarch Joseph Ⅱ. It was not until 1769 that the Uffizi was opened to the public and its director and the curator were appointed.
The Uffizi was not possessed by monarch anymore but managed by the specialists. When the Neoclassicist, Luigi Lanzi became curator, he classified all the articles and sent them to other museums, trying to display only paintings and sculptures in the Uffizi. Lanzi’s rational classification was based on the ideological distinction between so called Major Art and Minor Art.
The 20th century was the era of display. The Uffizi was organized chronologically from the 13th to the 18th Century Art Schools. The rooms were called by the names of ‘sala di Giotto’, ‘sala di Botticello’, ‘sala di Leonardo’ and so on. The exhibition rooms were equipped with the good conditions so that people could appreciate the masterpieces comfortably: properly lighted, the walls coloured lightly and softly, the number of paintings diminished for the masterpieces to be looked better. This change of display is principally resulted from not only the 20th Century’s concept of Modernism that wants to regards even the renaissance paintings as a fine art but also the increase of the public educational function of the museum.
But this systematic and masterpiece-centered display causes serious problems nowadays. The paintings which are independent from the historical context are enforced to be appreciated aesthetically, while, on the other hand, they are so far from soda1 function and everyday experiences. The public possessed the heritage of the past, but they can not approach to the past. This antinomy of the mutually exclusive dichotomy is the doublefaced nature of the Rationalism from Enlightenment to Modernism.
Recently, with the rising of the Post-Modernism and the accumulation of study in Art History, the new ways of display are being contrived: the display of not only the masterpieces but also the pieces which make feel the historical context with them, or the display that represents the same situation of the past as we can see in the recent changes of the Uffizi.
The Uffizi was originally built in order to be used as an office building. The origin of the Uffizi museum begins in 1581 when Francesco I gathered the Medici’s collection in the gallery on the 3rd floor. The drawings of the 18th century shows the Uffizi in those clays. The ancient sculptures are displayed in three galleries and portraits of the famous men(illustri uornini) are fully decorated on the upper part of the wall. The bigger portraits of the Medici’s ancesters are displayed in the middle of the wall between the doors.
There had been not only the rooms for paintings but also a lot of arsenals, the rooms for science, treasures and ceramics until the middle of the 18th century. The Uffizi was the place to show off the valuable articles of the monarch and Tribuna was the room where the most valuable things were displayed. In Tribuna were there the paintings by Raphael and his School and the ancient sculptures of Roman emperors and Greek gods.
Tempietto in the center of the room made of precious stones with various colours was the most important treasure at that time, because it was ‘artificialia’ completed through human hands with the products of ‘naruralla’
It was the late 18th century when Enlightenment and Academism of Art were spread out that all the pieces displayed in the rooms of science, arms and minerals were classified and sent to various other museums. The Uffizi underwent the most drastic change in its history of 400 years under the Austrian enlightened monarch Joseph Ⅱ. It was not until 1769 that the Uffizi was opened to the public and its director and the curator were appointed.
The Uffizi was not possessed by monarch anymore but managed by the specialists. When the Neoclassicist, Luigi Lanzi became curator, he classified all the articles and sent them to other museums, trying to display only paintings and sculptures in the Uffizi. Lanzi’s rational classification was based on the ideological distinction between so called Major Art and Minor Art.
The 20th century was the era of display. The Uffizi was organized chronologically from the 13th to the 18th Century Art Schools. The rooms were called by the names of ‘sala di Giotto’, ‘sala di Botticello’, ‘sala di Leonardo’ and so on. The exhibition rooms were equipped with the good conditions so that people could appreciate the masterpieces comfortably: properly lighted, the walls coloured lightly and softly, the number of paintings diminished for the masterpieces to be looked better. This change of display is principally resulted from not only the 20th Century’s concept of Modernism that wants to regards even the renaissance paintings as a fine art but also the increase of the public educational function of the museum.
But this systematic and masterpiece-centered display causes serious problems nowadays. The paintings which are independent from the historical context are enforced to be appreciated aesthetically, while, on the other hand, they are so far from soda1 function and everyday experiences. The public possessed the heritage of the past, but they can not approach to the past. This antinomy of the mutually exclusive dichotomy is the doublefaced nature of the Rationalism from Enlightenment to Modernism.
Recently, with the rising of the Post-Modernism and the accumulation of study in Art History, the new ways of display are being contrived: the display of not only the masterpieces but also the pieces which make feel the historical context with them, or the display that represents the same situation of the past as we can see in the recent changes of the Uffizi.
목차
1. 우피치의 현재
2. 우피치의 과거
3. 군주의 수집과 과시: 16세기의 트리부나
4. 전시의 체계화: 18세기 말
5. 미술의 독립과 전시: 20세기
6. 다시 역사의 문맥에 놓기
참고문헌
Abstract
「우피치의 전시와 변천」에 대한 질의(양정무)
양정무 선생님의 질의에 대한 답변(이은기)
참고문헌 (0)
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