Žymiausias Bronzinas tapas yra Venera, Kupidas ir laikas (Ėrotikos alegorija) (1540), esantis National Gallery, Londonas. Kartu su Portrait of Eleonora da Toledo (1555) ir Venus, Cupido and Satyr tai sudaro tris visai visus pažįstančius darbus. Mūsų kataloge yra 189 darbų autoriaus Bronzinas; žemiau pateiktos 100 daugiausia visame pasaulyje žiūrimų kūrinių, kiekvieno iš jų – su metai, muziejumi, kuriame jis saugomas, ir paaiškintu, kodėl jis svarbus.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta spalis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
Agnolo Bronzino drobė „Venera, Kūpičas ir Laikas“ (Allegory of Lust) – tai neatsiejamas XVI amžiaus manierizmo stilius, kuriame susijungia mitologinis pasakojimas su inovatyvia menine technika. Šis išskirtinis kūrinys kviečia žiūrovą pasinerti į turtingą simbolizmą, sodrią spalvų paletę ir dinamišką kompoziciją, todėl jis tampa nesenstančiu priekuriu bet kuriai meno kolekcijai ar stilingam interjerui.
To gaze upon Agnolo Bronzino's Portrait of Eleonora da Toledo is to step directly into the rarefied atmosphere of High Renaissance Florence. This painting, executed in 1555, transcends a mere likeness; it is a carefully constructed monument to status, power, and exquisite refinement. The subject, Eleonora da Toledo, radiates an almost palpable aura of aristocratic dignity. Bronzino captures her not just as a woman, but as a symbol of Medici…
A pale, reclining figure occupies the center of the frame, her skin possessing the cool, polished sheen of marble. This is Venus, the goddess of love, draped in a way that emphasizes the tension between soft flesh and the hard edges of the composition. Beside her, Cupid clings to her form, a small, fleshy presence that embodies the sudden, sharp sting of passion. Their limbs are elongated, stretching toward one…
In the grand theater of the Italian Mannerist period, few images command the eye with such authoritative grace as Agnolo Bronzino’s Portrait of Andrea Doria as Neptune. This is not merely a portrait of a man, but a profound exercise in political allegory and divine projection. The subject, the legendary Genoese admiral Andrea Doria, is stripped of the heavy silks and velvet doublets typical of sixteenth-century aristocratic portraiture. Instead, Bronzino…
The figure of St. John the Baptist emerges from the shadows, rendered with a muscular intensity by the Florentine master Bronzino. This depiction captures the patron saint of Florence in a moment of profound spiritual tension. Created about 1542 - 1545, the work possesses a striking verticality that speaks to its original purpose. It does not exist in isolation but remains a fragment of a larger sacred narrative, having once…
“Deposition,” painted in 1565 by the Florentine master Agnolo Bronzino, is not merely a religious scene; it's a meticulously crafted tableau of restrained emotion and profound psychological depth. Commissioned for the Observant Monastery in Cosmopoli, this work transcends simple narrative to become a meditation on grief, loss, and the delicate balance between earthly sorrow and divine grace. Bronzino, renowned for his “reserved elegance,” achieved this through an almost unnervingly controlled…
To gaze upon this portrait is to step directly into the rarefied atmosphere of mid-sixteenth-century Florence, a world governed by the subtle power plays and exquisite tastes of the Medici court. Agnolo Bronzino, the master chronicler of such elite circles, captured not merely a likeness, but an entire social stratum. The sitter, though anonymous to us today, embodies the controlled elegance expected of those who moved within the gilded cage…
The gaze of the Grand Duke of Tuscany, Cosimo I de' Medici, meets the viewer through the work titled Cosimo de Medici in Armour. Created by the Florentine artist Bronzino, this portrait captures the ruler in a moment of poised authority. The image emerges from the mid-16th century, dated about 1545, and presents a commanding presence through its structured composition. It exists as a significant version of the painting held…
In this portrait, we encounter Cosimo I de' Medici, not merely as a ruler, but as the mythological musician Orpheus. He is positioned in a three-quarter view from behind, turning his gaze back toward us with a sense of psychological alertness. His body, rendered with a polished, marble-like texture, possesses an idealized beauty that speaks to the High Mannerist style. A single splash of crimson red drapery provides a sharp…
In this vertical half-length portrait, we encounter the Duchess of Florence, Eleonora of Toledo, and her son, Francesco de' Medici. The composition is defined by a controlled, almost sculptural stillness. Eleonora stands slightly behind the young boy, her hand resting upon his shoulder in a gesture that is both protective and formal. There is a certain aristocratic detachment in their expressions, a cool composure that characterizes the Florentine Mannerist style.…
This oil on panel portrait presents a three-quarter view of Eleonora di Toledo, focusing on the head, shoulders, and upper chest. The subject is positioned against a neutral…
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A woman stands in a red dress, her hand resting upon her hip with a quiet, unyielding confidence. The fabric of her gown is a heavy, structured thing,…
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The painting depicts a bedroom setting centered on two naked figures, Venus and Cupid. One woman lies down while another stands over her; they are holding hands and…
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Agnolo Bronzino’s “Portrait of Pierantonio Bandini,” painted circa 1550-1555, is not merely a likeness; it's an exquisitely crafted distillation of Renaissance ideals – a study in dignified composure…
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Step closer to observe the quiet intensity of this 1545 panel. In this scene, we witness the heavy, physical reality of the Deposition from the Cross. Agnolo Bronzino…
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Agnolo Bronzino's "Holy Family," painted around 1540, isn’t merely a depiction of a biblical scene; it’s a carefully constructed tableau of serenity and profound familial love. Emerging from…
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In the quiet corridors of the Národní Galerie in Prague, there exists a window into the opulent heart of the sixteenth century. Agnolo Bronzino’s Eleonora di Toledo is…
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In the heart of the Italian Renaissance, where the shadows of the Medici court danced with the light of intellectual rebirth, Agnolo Bronzino captured a moment of eternal…
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To stand before Agnolo Bronzino’s Allegorical Portrait of Dante is to step directly into the rarefied, intellectual atmosphere of the High Renaissance. This magnificent oil painting from 1530…
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To stand before Agnolo Bronzino's Ugolino Martelli is to encounter the very essence of High Renaissance self-possession. Painted in 1535, this portrait transcends a mere likeness; it is…
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In the heart of the Florentine Mannerist tradition, Agnolo Bronzino’s Cosimo I de' Medici in Armour emerges as more than a mere portrait; it is a profound psychological…
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To gaze upon this portrait of Pope Leo X is to encounter a moment suspended in the opulent grandeur of the Italian Renaissance. Agnolo Bronzino, master chronicler of…
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To stand before Agnolo Bronzino's depiction of Saint Sebastian is to encounter an embodiment of refined restraint—a hallmark of the High Renaissance transitioning into the sophisticated drama of…
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The world of Renaissance Florence was a crucible of artistic innovation, yet within its vibrant heart resided a figure renowned for his profound restraint – Agnolo di Cosimo,…
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“Eleonora of Toledo with her son Giovanni,” painted in 1544 by Agnolo Bronzino, stands as a testament to the artistic sophistication and political maneuvering characteristic of Renaissance Florence…
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Agnolo Bronzino's "Venus, Cupid, and Time," painted in 1540, isn’t merely a depiction of mythological figures; it’s an exquisitely crafted allegory—a visual poem brimming with ambiguity and profound…
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To gaze upon Agnolo Bronzino’s portrait, Don Garcia de' Medici, is to encounter an exquisite moment suspended in the amber glow of the Italian Renaissance. This depiction of…
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To gaze upon Agnolo Bronzino's depiction of Eleonora da Toledo is to encounter a moment suspended in the rarefied air of Renaissance aristocracy. This portrait, executed in 1543,…
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In the heart of the Italian Renaissance, where power was as much about visual splendor as it was about political maneuvering, Agnolo Bronzino captured a moment of eternal…
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In the heart of Florence’s Palazzo Vecchio, tucked within the sacred stillness of the Cappella di Eleonora, resides one of the most arresting spectacles of the Mannerist era:…
Agnolo Bronzino’s “Portrait of Lucrezia Panciatichi (detail)” is more than just a depiction of a noblewoman; it's a meticulously crafted distillation of Renaissance ideals, a study in restrained…
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Agnolo Bronzino's “Portrait of a Young Man,” painted circa 1540, stands as an emblem of Florentine Mannerism—a stylistic movement that prioritized elegance and restraint over the exuberant naturalism…
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Agnolo Bronzino’s “Martyrdom of St. Lawrence,” painted in 1569, isn't merely a depiction of a historical event; it’s a profound meditation on faith, suffering, and the enduring spirit…
Agnolo Bronzino's "Adoration of the Shepherds," painted in 1539, isn’t merely a depiction of a biblical scene; it’s a meticulously crafted distillation of Renaissance ideals – a testament…
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This portrait of Eleonora da Toledo is a significant work by the Florentine artist Bronzino. The subject is depicted with a certain poise, wearing a crown upon her…
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“The Miracle of the Spring,” painted by Agnolo Bronzino around 1543, is more than just a fresco; it's a meticulously crafted tableau vivant—a frozen moment brimming with allegorical…
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Agnolo Bronzino’s “Gathering of the Manna,” a monumental fresco within the Cappella di Eleonora in Florence’s Palazzo Vecchio, isn’t merely a depiction of a biblical event; it's a…
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A sculptor’s hands once held a dream of stone. In this work from c.1530, the boundary between the inanimate and the living dissolves under a soft, transformative light.…
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Agnolo Bronzino’s “Portrait of Ludovico Capponi,” painted in 1551, stands as a testament to the zenith of Mannerist art—a style characterized by refined elegance and psychological depth that…
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A Portrait of Regal Dignity: Agnolo Bronzino’s Emblematic Representation of Cosimo I Agnolo di Cosimo, universally recognized as Bronzino, stands as a cornerstone of Mannerist art—a movement that…
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A young woman emerges from a deep, blue shadow, her presence defined by a stillness that feels almost sculptural. She is turned in a three-quarter view, her skin…
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The fresco titled Crossing of the Red Sea was executed by the Florentine artist Agnolo Bronzino. This work, completed around 1542, utilizes the fresco technique to depict a…
Agnolo Bronzino's "St. John the Baptist," painted in 1550 and currently residing within the Galleria Borghese in Rome, is a masterful embodiment of Mannerist artistry—a period characterized by…
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The year is 1530, and Florence pulses with the vibrant energy of the High Renaissance. Amidst this flourishing artistic landscape emerges Agnolo Bronzino – not merely a painter,…
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This painting, titled Portrait of a boy, is a work by the Florentine artist Bronzino. It belongs to the genre of portraiture, capturing a singular youthful figure with…
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In this religious work, titled The Feast Given by Joseph for His Brothers, Agnolo Bronzino explores a pivotal moment from the Book of Genesis. The narrative focuses on…
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The painting, titled Portrait of a Man, presumably a member of the Medici Family, captures a singular presence through the hand of Agnolo Bronzino. This work belongs to…
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The Portrait of a Lady with a Puppy is a captivating oil painting created by the renowned Italian artist Agnolo Bronzino in 1534. This stunning work of art…
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This portrait of Don Giovanni de’Medici offers a quiet glimpse into the lineage of the Medici family. Executed by the Florentine master Bronzino, the work captures a young…
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The artwork is titled Portrait of an Elderly Lady. It was executed by the artist Bronzino, who was born in Florence, Italy, in 1503. This oil on poplar…
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We are looking at the Portrait of Lorenzo the Magnificent, a significant work by the Florentine artist Bronzino. This painting belongs to the genre of portraiture, focusing specifically…
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A young man sits with a stillness that feels carved from stone. His face, smooth and pale as fine porcelain, meets the viewer with a gaze that is…
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Madonna and Child with Saint John the Baptist is a religious work by the Florentine Mannerist Agnolo Bronzino. Executed in oil on a poplar panel, the composition centers…
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In this Mannerist oil painting, three figures occupy a vertical, tightly cropped arrangement against a dark, near-black background. The Virgin Mary is positioned centrally, her form defined by…
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The painting presents a view of a chapel featuring a fresco that depicts the life of Christ. Within this sacred setting, the scene is populated by numerous figures,…
Agnolo Bronzino’s “Portrait of Bartolomeo Panciatichi,” painted in 1540, is more than just a likeness; it's a meticulously crafted distillation of Renaissance ideals – a testament to the…
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The air feels heavy with anticipation as Moses raises his staff against the rugged, unyielding face of the rock. In this mid-sixteenth century fresco, a sudden, life-giving force…
The year is 1540, and Florence pulses with the ambition of the Medici court. Within the private chapel of Eleonora di Toledo, Duchess of Florence, a masterpiece emerges…
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In the profound stillness of Agnolo Bronzino’s The Dead Christ with the Virgin and St. Mary Magdalene, we are invited into a moment of eternal mourning, captured with…
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Painted in 1548 by the Florentine master Agnolo Bronzino, *Venus, Cupid and Envy* is a captivating embodiment of Mannerist aesthetics – a style characterized by its deliberate artifice,…
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A man sits upon the ground, his torso twisted to fit the vertical constraints of the panel. He wears a blue cloth wrapped around his waist, leaving much…
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In the heart of the Italian Renaissance, where the boundaries between reality and ideal beauty began to blur, Agnolo Bronzino crafted a masterpiece that remains an enduring emblem…
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A Portrait of Dignified Majesty: Agnolo Bronzino’s Pope Clement VII The Portrait of Pope Clement VII, executed by Agnolo Bronzino in 1564, stands as a cornerstone of Mannerist…
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In the quiet, commanding presence of Agnolo Bronzino’s "untitled (4490)", we are transported back to the height of the Italian Renaissance, a period where portraiture served as both…
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The Holy Family by Agnolo Bronzino is a renowned oil painting that showcases the artist's skill in capturing dramatic scenes with incredible detail. Created in 1545, this tempera…
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In the quiet, commanding presence of Agnolo Bronzino’s Portrait of Francesco de’ Medici, one does not merely encounter a likeness, but an entire era of Renaissance splendor. Painted…
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In the grand tapestry of the Italian Renaissance, few portraits capture the poised sophistication of the Mannerist era as exquisitely as Agnolo Bronzino’s Lucrezia Panciatichi. Painted around 1540,…
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To gaze upon this detail from Agnolo Bronzino’s Adoration of the Shepherds is to step directly into the rarefied atmosphere of Mannerist devotion. The painting, executed in 1539,…
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In the grand tradition of the Italian Renaissance, few works capture the intersection of maternal tenderness and aristocratic poise as exquisitely as Agnolo Bronzino’s A Young Woman and…
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In the heart of the Florentine Renaissance, where the shadows of Mannerism began to dance with the structured grace of the High Renaissance, Agnolo Bronzino captured a moment…
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In the quiet, commanding presence of Agnolo Bronzino’s Portrait of Guidubaldo della Rovere, we encounter the very essence of the High Renaissance transitioning into the sophisticated artifice of…
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In the profound stillness of 1544, Agnolo Bronzino captured a moment of celestial intersection in his masterpiece, Stigmatization of St. Francis. This painting is not merely a depiction…
Užsisakyti reprodukciją →Keturi populiariausi temų motyvai tarp šių šedevrų, su geriausiais kiekvieno pavyzdžiais.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Bronzinas darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Galleria degli Uffizi |
Florencija | 18 | Holy Family, Portrait of Lucrezia Panciatichi, Pope Leo X |
 Palazzo Vecchio |
Florencija | 11 | Miracle of the Brazen Serpent, The Miracle of the Spring, Gathering of the Manna |
 Szépművészeti Múzeum |
Budapeštas | 8 | Venus, Cupid and Jealousy, Adoration of the Shepherds, Venus, Cupid and Envy |
 National Gallery |
Londonas | 5 | Venera, Kupidas ir laikas (Ėrotikos alegorija), Venus cupid time, Venus, Cupid and Time (detail) |
 National Gallery of Art |
Vašingtonas | 4 | Eleonora di Toledo, Portrait of Eleanora di Toledo, A Young Woman and Her Little Boy |
 Detroito meno institutas |
Detroitas | 2 | Costanza da Sommaia, Madonna and Child with Saint John the Baptist |
 Walters Art Museum |
Baltimore | 2 | The Feast Given by Joseph for His Brothers, Portrait of a Baby Boy |
 Royal Collection |
Londonas | 2 | Portrait of a Lady in Green, Portrait of a Lady in Green |
In this Mannerist oil painting, three figures occupy a vertical, tightly cropped arrangement against a dark, near-black background. The Virgin Mary is positioned centrally, her form defined by…
In this portrait, we encounter Cosimo I de' Medici, not merely as a ruler, but as the mythological musician Orpheus. He is positioned in a three-quarter view from…
Agnolo Bronzino drobė „Venera, Kūpičas ir Laikas“ (Allegory of Lust) – tai neatsiejamas XVI amžiaus manierizmo stilius, kuriame susijungia mitologinis pasakojimas su inovatyvia menine technika. Šis išskirtinis kūrinys…
To gaze upon Agnolo Bronzino's Portrait of Eleonora da Toledo is to step directly into the rarefied atmosphere of High Renaissance Florence. This painting, executed in 1555, transcends…
“Deposition,” painted in 1565 by the Florentine master Agnolo Bronzino, is not merely a religious scene; it's a meticulously crafted tableau of restrained emotion and profound psychological depth.…
Venera, Kupidas ir laikas (Ėrotikos alegorija) (1540), National Gallery, Londonas. Toliau yra Portrait of Eleonora da Toledo (1555) ir Venus, Cupido and Satyr.
37 metų amžiaus: Venera, Kupidas ir laikas (Ėrotikos alegorija) sukurta 1540 m. ir Bronzinas gimė 1503.
Venera, Kupidas ir laikas (Ėrotikos alegorija), Portrait of Eleonora da Toledo, Venus, Cupido and Satyr, Portrait of Andrea Doria as Neptune, St. John the Baptist, Deposition, Portrait of a Young Man, Cosimo de Medici in Armour, Portrait of Cosimo I de' Medici as Orpheus ir Portrait of Eleonora of Toledo and Her Son, Francesco de'Medici. Viršuje esančioje reitingo lentelėje nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 189 Bronzinas darbų, datuojamų nuo 1525 iki 1569.
Dauguma jų yra Galleria degli Uffizi (Florencija), Palazzo Vecchio (Florencija) ir Szépművészeti Múzeum (Budapeštas). Viršuje esančiame lange muziejai išvardyti po vieni.
1540s laikotarpyje: 36 iš 100 šioje pusėje esančių darbų sukurtos tada, iš jų – Venera, Kupidas ir laikas (Ėrotikos alegorija).
Pirmasis šioje pusėje yra St Matthew (1525), paskutinis – Martyrdom of St Lawrence (1569).
Renaissance (34), Portrait (16) ir Woman (11), iš 100 šioje pusėje esančių darbų.
Oil On Panel: 25 iš 100 šioje pusėje esančių darbų.
Manierizmas, kaip rodo šio puslapio paveikslai.
Holy Family, Portrait of Lucrezia Panciatichi ir Pope Leo X yra vieni iš 8 šioje puslapyje esamų darbų, kuriuos saugo Galleria degli Uffizi, Florencija.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
