Modern Art Gallery
Galleria d'Art Moderna
The history of the gallery begins in 1748, when the grand duke Pietro Leopoldo of Lorraine began the remodeling of the Florentine Academy where he established a modern art gallery in its interior next to the classical art collection made up of works once suppressed by ecclesiastical bans. The gallery was to contain the paintings and the sculptures that received awards in the academic competitions, as well as entries in the pensionato artistico contest. In those same years, due to the need to decorate Palazzo Pitti, works of art were being collected by order of the grand duke. By the middle of the 19th century, they were already so numerous that it was necessary to transfer many of them to the Crocetta Palazzo (which today houses the Archaelogical Museum), later to become the new Modern Art Museum.
In 1914 the Italian State and the Florence City Council reached an agreement on the administration of the nascent Modern Art Gallery in which the various collections would be brought together, irrespective of their ownership (state or municipal). A commission of experts was established to oversee acquisitions. With regard to the physical site, a proposal emerged to locate the gallery in Palazzo Pitti, an idea that was realized in 1922 when the royal family vacated their second-floor apartments.
Sisi, Carlo, "Modern Art Gallery, Pitti Palace: all the museums all the works, 2001, Sillabe, Livorno, pp.77-117.
See also:
Condemi, Simonella, La Galleria d'arte moderna di Palazzo Pitti per Firenze Capitale, 2015.
In 1914 the Italian State and the Florence City Council reached an agreement on the administration of the nascent Modern Art Gallery in which the various collections would be brought together, irrespective of their ownership (state or municipal). A commission of experts was established to oversee acquisitions. With regard to the physical site, a proposal emerged to locate the gallery in Palazzo Pitti, an idea that was realized in 1922 when the royal family vacated their second-floor apartments.
Sisi, Carlo, "Modern Art Gallery, Pitti Palace: all the museums all the works, 2001, Sillabe, Livorno, pp.77-117.
See also:
Condemi, Simonella, La Galleria d'arte moderna di Palazzo Pitti per Firenze Capitale, 2015.
The rooms in red are the Modern Art Gallery. The rooms in green are the Winter Quarters.
ROOM 1: Aspects of Neo-Classicism in Tuscany
ROOM 2: Primacy of French art between the Revolution and the Empire
ROOM 3: Iconography of pre-unification Tuscan dynasties
ROOM 4: The Demidoff in Florence and the art of the Restoration
ROOM 5: Romantic painting of historical genre
ROOM 6: Inquiry into "the real" between Florence and Naples
ROOM 7: Antonio Ciseri and the commemorative portrait
THE BALLROOM
ROOM 8: Portraits of the era of Florence the capital
ROOM 9: The Landscape schools of the mid-19th century
ROOM 10: The Cristiano Banti Collection
ROOM 11: The Diego Martelli Collection
ROOM 12: The theme of genre
ROOM 13: The patriotic theme with democratic overtones
ROOM 14: Historical genres to the forefront of the exhibitions
ROOM 15: Stefano Ussi and the climate of the world fairs
ROOM 16: The celebration of the post-unification risorgimento
ROOM 17: Portraits from the era of Umberto I
ROOM 18: The municipal inventory of the years 1912-1925
ROOM 19: The Ambron Collection
ROOM 20: Campestral painting
ROOM 21: Manifestations of naturalism in Tuscany
ROOM 22: Italian schools of the latter-half of the 19th century
ROOM 23: Models and influences of Mitteleuropean culture
ROOM 24: Pontillism, Symbolism and social themes
ROOM 25, 26: Study collections-The Collection of Emilio Gagliardini
ROOM 27: Figurative Tuscan culture surrounding "Il Marzocco" and "Leonardo"
ROOM 28: European influences on Tuscan art on the second decade of the 20th century
ROOM 29: Legacy of Mai Sewell Costetti
ROOM 30: Acquisitions at the Florentine Primaverile of 1922
ROOM 2: Primacy of French art between the Revolution and the Empire
ROOM 3: Iconography of pre-unification Tuscan dynasties
ROOM 4: The Demidoff in Florence and the art of the Restoration
ROOM 5: Romantic painting of historical genre
ROOM 6: Inquiry into "the real" between Florence and Naples
ROOM 7: Antonio Ciseri and the commemorative portrait
THE BALLROOM
ROOM 8: Portraits of the era of Florence the capital
ROOM 9: The Landscape schools of the mid-19th century
ROOM 10: The Cristiano Banti Collection
ROOM 11: The Diego Martelli Collection
ROOM 12: The theme of genre
ROOM 13: The patriotic theme with democratic overtones
ROOM 14: Historical genres to the forefront of the exhibitions
ROOM 15: Stefano Ussi and the climate of the world fairs
ROOM 16: The celebration of the post-unification risorgimento
ROOM 17: Portraits from the era of Umberto I
ROOM 18: The municipal inventory of the years 1912-1925
ROOM 19: The Ambron Collection
ROOM 20: Campestral painting
ROOM 21: Manifestations of naturalism in Tuscany
ROOM 22: Italian schools of the latter-half of the 19th century
ROOM 23: Models and influences of Mitteleuropean culture
ROOM 24: Pontillism, Symbolism and social themes
ROOM 25, 26: Study collections-The Collection of Emilio Gagliardini
ROOM 27: Figurative Tuscan culture surrounding "Il Marzocco" and "Leonardo"
ROOM 28: European influences on Tuscan art on the second decade of the 20th century
ROOM 29: Legacy of Mai Sewell Costetti
ROOM 30: Acquisitions at the Florentine Primaverile of 1922