Featured Events in Florence in October, 2024 (May Updated)

Starting with the Saracen jousting, a popular event celebrated in the city of Arezzo, the exhibition aims to document war games using prints and drawings from various periods in the Uffizi Gallery, especially the numerous examples of helmets, weapons and armour from the famous collection of the Stibbert Museum. These knightly tournaments became popular in the Middle Ages and continued into the Renaissance, including the Crossbow Palio, which required contestants to have skills in precision, and the ancient Game of the Bridge, a contest of strength to conquer the Ponte Vecchio on foot. Visitors will see the most iconic piece in the exhibition, a 16th-century Buratto or Saracen quintain on loan from the Museo Nazionale del Bargello. Probably a celebration to mark the marriage of Francesco I and Bianca Cappero in 1579, the changes over the centuries have transformed it from a Saracen nobleman to the European warrior we see today. The exhibition emblem is another prestigious work of art, Stefano Della Bella’s Knight in Armour, made for the procession and loaned by the Uffizi Gallery. The sumptuous, ornate costumes and robes evoke the sheer splendor of participating in these spectacular events designed to celebrate the great and the good. In another painting loaned from the CR Florence Foundation, Stefano Della Bella depicts a night procession in the Boboli Gardens in 1637. Arms and armour are loaned by Florence’s Museo Stibbert, which has one of the richest collections of material on the ancient game of bridge in Pisa. Stibbert also loaned a fine set of 17th-century crossbows richly inlaid with hunting scenes, made by a workshop in southern Germany. And the collection of the Ivan Bruschi Foundation lends an interesting letter of challenge from “the unconquered, most glorious and ever-victorious King of the Indies, Brato”, issued to announce the version of the Saracen tournament that was held on August 26, 1674 in honor of Cardinal Corsini, Bishop of Arezzo.

Starting with the Saracen jousting, a popular event celebrated in the city of Arezzo, the exhibition aims to document war games using prints and drawings from various periods in the Uffizi Gallery, especially the numerous examples of helmets, weapons and armour from the famous collection of the Stibbert Museum. These knightly tournaments became popular in the Middle Ages and continued into the Renaissance, including the Crossbow Palio, which required contestants to have skills in precision, and the ancient Game of the Bridge, a contest of strength to conquer the Ponte Vecchio on foot. Visitors will see the most iconic piece in the exhibition, a 16th-century Buratto or Saracen quintain on loan from the Museo Nazionale del Bargello. Probably a celebration to mark the marriage of Francesco I and Bianca Cappero in 1579, the changes over the centuries have transformed it from a Saracen nobleman to the European warrior we see today. The exhibition emblem is another prestigious work of art, Stefano Della Bella’s Knight in Armour, made for the procession and loaned by the Uffizi Gallery. The sumptuous, ornate costumes and robes evoke the sheer splendor of participating in these spectacular events designed to celebrate the great and the good. In another painting loaned from the CR Florence Foundation, Stefano Della Bella depicts a night procession in the Boboli Gardens in 1637. Arms and armour are loaned by Florence’s Museo Stibbert, which has one of the richest collections of material on the ancient game of bridge in Pisa. Stibbert also loaned a fine set of 17th-century crossbows richly inlaid with hunting scenes, made by a workshop in southern Germany. And the collection of the Ivan Bruschi Foundation lends an interesting letter of challenge from “the unconquered, most glorious and ever-victorious King of the Indies, Brato”, issued to announce the version of the Saracen tournament that was held on August 26, 1674 in honor of Cardinal Corsini, Bishop of Arezzo.

Starting with the Saracen jousting, a popular event celebrated in the city of Arezzo, the exhibition aims to document war games using prints and drawings from various periods in the Uffizi Gallery, especially the numerous examples of helmets, weapons and armour from the famous collection of the Stibbert Museum. These knightly tournaments became popular in the Middle Ages and continued into the Renaissance, including the Crossbow Palio, which required contestants to have skills in precision, and the ancient Game of the Bridge, a contest of strength to conquer the Ponte Vecchio on foot. Visitors will see the most iconic piece in the exhibition, a 16th-century Buratto or Saracen quintain on loan from the Museo Nazionale del Bargello. Probably a celebration to mark the marriage of Francesco I and Bianca Cappero in 1579, the changes over the centuries have transformed it from a Saracen nobleman to the European warrior we see today. The exhibition emblem is another prestigious work of art, Stefano Della Bella’s Knight in Armour, made for the procession and loaned by the Uffizi Gallery. The sumptuous, ornate costumes and robes evoke the sheer splendor of participating in these spectacular events designed to celebrate the great and the good. In another painting loaned from the CR Florence Foundation, Stefano Della Bella depicts a night procession in the Boboli Gardens in 1637. Arms and armour are loaned by Florence’s Museo Stibbert, which has one of the richest collections of material on the ancient game of bridge in Pisa. Stibbert also loaned a fine set of 17th-century crossbows richly inlaid with hunting scenes, made by a workshop in southern Germany. And the collection of the Ivan Bruschi Foundation lends an interesting letter of challenge from “the unconquered, most glorious and ever-victorious King of the Indies, Brato”, issued to announce the version of the Saracen tournament that was held on August 26, 1674 in honor of Cardinal Corsini, Bishop of Arezzo.

Inaugurated in 1983 in Palazzo Pitti - already famous for being the fashion "temple" of the post-war period - the museum is the first Italian national museum dedicated to the history of fashion, haute couture, the evolution of tastes over the centuries. The new arrangement of the museum offers visitors a selection of rare and precious dresses accompanied by accessories, shoes, hats, fans, parasols, bags, which present through suggestions and samples a vast collection, with a total of more than 15,000 objects, which will be presented over time according to a rotation grouped by type, theme and leitmotif, while always maintaining the standards of the new arrangement, which aims to propose a journey of the evolution of fashion and taste that can be seen in the historical development from the 18th century to the present day. Another characteristic element of the new arrangement is indeed the interaction between dresses and accessories and the most diverse art forms, strongly recommended by curator Simone Verde and museum director Vanessa Gavioli, first of all painting, by comparing the magnificent dresses on display with some fascinating portraits and paintings of the same period, which also helps to make fashion through the representation of painters such as Carle Vanloo, Laurent Pecheux and Jean-Sébastien Rouillard, through elegant portraits of 19th-century artists such as Tito Conti, Giovanni Boldini, Edoardo Gelli and Vittorio Corcos, to get to know some of the most relevant artists of the Italian avant-garde, including Massimo Campigli, Giulio Turcato, Corrado Cagli and Alberto Burri. After all, fashion is by definition an art that has always been in symbiosis with the most diverse disciplines, and the new arrangement of the museum aims to recreate an ideal palimpsest where one can also capture at a glance the relationship between the different arts. Thus, not only between fashion and painting, but also between fashion and plastic arts (the pairing between the handle of a porcelain vase and the sleeve of an 18th-century dress is an interesting one); fashion, theatre and sculpture (the relationship between the Mariano Fortuny dress worn by Eleonora Duse and the face of an actress sculpted by Arrigo Minerbi is a particularly fascinating example); but also between fashion and architecture, the dress closely related to the surrounding historical space, the furniture and the frescoes of the Palazzina della Meridiana; and finally ending with a visual dialogue, thanks to the use of video screens, a virtual reconstruction between the current arrangement and the historical one, from those years in Florence, in the Pitti Palace, in those rooms that we can visit again today, when Italian haute couture was establishing itself internationally as one of the most famous and acclaimed in the world of excellence, according to a tradition that still continues seamlessly to this day.

Valter Bernardeschi’s photographs are vibrant testimonies of natural life, captured with a rare sensitivity and impeccable technique. Each image tells a story, revealing the majesty and vulnerability of nature in all its complexity.

Valter Bernardeschi’s photographs are vibrant testimonies of natural life, captured with a rare sensitivity and impeccable technique. Each image tells a story, revealing the majesty and vulnerability of nature in all its complexity.

This exhibition offers all visitors, from collectors to art lovers alike, the opportunity to retrace the most significant moments in the last two centuries of the history of Art, through the masterpieces of some of its main protagonists. Thanks to its founder Roberto Casamonti, the gallery is distinguished by its careful spirit of research. The exhibition is accompanied by the catalogue ‘Arte moderna e contemporanea. Antologia scelta 2024’, with a rich photographic apparatus, that delves into some of the themes of this extraordinary collection.

This exhibition offers all visitors, from collectors to art lovers alike, the opportunity to retrace the most significant moments in the last two centuries of the history of Art, through the masterpieces of some of its main protagonists. Thanks to its founder Roberto Casamonti, the gallery is distinguished by its careful spirit of research. The exhibition is accompanied by the catalogue ‘Arte moderna e contemporanea. Antologia scelta 2024’, with a rich photographic apparatus, that delves into some of the themes of this extraordinary collection.

This exhibition offers all visitors, from collectors to art lovers alike, the opportunity to retrace the most significant moments in the last two centuries of the history of Art, through the masterpieces of some of its main protagonists. Thanks to its founder Roberto Casamonti, the gallery is distinguished by its careful spirit of research. The exhibition is accompanied by the catalogue ‘Arte moderna e contemporanea. Antologia scelta 2024’, with a rich photographic apparatus, that delves into some of the themes of this extraordinary collection.

Inaugurated in 1983 in Palazzo Pitti - already famous for being the fashion "temple" of the post-war period - the museum is the first Italian national museum dedicated to the history of fashion, haute couture, the evolution of tastes over the centuries. The new arrangement of the museum offers visitors a selection of rare and precious dresses accompanied by accessories, shoes, hats, fans, parasols, bags, which present through suggestions and samples a vast collection, with a total of more than 15,000 objects, which will be presented over time according to a rotation grouped by type, theme and leitmotif, while always maintaining the standards of the new arrangement, which aims to propose a journey of the evolution of fashion and taste that can be seen in the historical development from the 18th century to the present day. Another characteristic element of the new arrangement is indeed the interaction between dresses and accessories and the most diverse art forms, strongly recommended by curator Simone Verde and museum director Vanessa Gavioli, first of all painting, by comparing the magnificent dresses on display with some fascinating portraits and paintings of the same period, which also helps to make fashion through the representation of painters such as Carle Vanloo, Laurent Pecheux and Jean-Sébastien Rouillard, through elegant portraits of 19th-century artists such as Tito Conti, Giovanni Boldini, Edoardo Gelli and Vittorio Corcos, to get to know some of the most relevant artists of the Italian avant-garde, including Massimo Campigli, Giulio Turcato, Corrado Cagli and Alberto Burri. After all, fashion is by definition an art that has always been in symbiosis with the most diverse disciplines, and the new arrangement of the museum aims to recreate an ideal palimpsest where one can also capture at a glance the relationship between the different arts. Thus, not only between fashion and painting, but also between fashion and plastic arts (the pairing between the handle of a porcelain vase and the sleeve of an 18th-century dress is an interesting one); fashion, theatre and sculpture (the relationship between the Mariano Fortuny dress worn by Eleonora Duse and the face of an actress sculpted by Arrigo Minerbi is a particularly fascinating example); but also between fashion and architecture, the dress closely related to the surrounding historical space, the furniture and the frescoes of the Palazzina della Meridiana; and finally ending with a visual dialogue, thanks to the use of video screens, a virtual reconstruction between the current arrangement and the historical one, from those years in Florence, in the Pitti Palace, in those rooms that we can visit again today, when Italian haute couture was establishing itself internationally as one of the most famous and acclaimed in the world of excellence, according to a tradition that still continues seamlessly to this day.

Inaugurated in 1983 in Palazzo Pitti - already famous for being the fashion "temple" of the post-war period - the museum is the first Italian national museum dedicated to the history of fashion, haute couture, the evolution of tastes over the centuries. The new arrangement of the museum offers visitors a selection of rare and precious dresses accompanied by accessories, shoes, hats, fans, parasols, bags, which present through suggestions and samples a vast collection, with a total of more than 15,000 objects, which will be presented over time according to a rotation grouped by type, theme and leitmotif, while always maintaining the standards of the new arrangement, which aims to propose a journey of the evolution of fashion and taste that can be seen in the historical development from the 18th century to the present day. Another characteristic element of the new arrangement is indeed the interaction between dresses and accessories and the most diverse art forms, strongly recommended by curator Simone Verde and museum director Vanessa Gavioli, first of all painting, by comparing the magnificent dresses on display with some fascinating portraits and paintings of the same period, which also helps to make fashion through the representation of painters such as Carle Vanloo, Laurent Pecheux and Jean-Sébastien Rouillard, through elegant portraits of 19th-century artists such as Tito Conti, Giovanni Boldini, Edoardo Gelli and Vittorio Corcos, to get to know some of the most relevant artists of the Italian avant-garde, including Massimo Campigli, Giulio Turcato, Corrado Cagli and Alberto Burri. After all, fashion is by definition an art that has always been in symbiosis with the most diverse disciplines, and the new arrangement of the museum aims to recreate an ideal palimpsest where one can also capture at a glance the relationship between the different arts. Thus, not only between fashion and painting, but also between fashion and plastic arts (the pairing between the handle of a porcelain vase and the sleeve of an 18th-century dress is an interesting one); fashion, theatre and sculpture (the relationship between the Mariano Fortuny dress worn by Eleonora Duse and the face of an actress sculpted by Arrigo Minerbi is a particularly fascinating example); but also between fashion and architecture, the dress closely related to the surrounding historical space, the furniture and the frescoes of the Palazzina della Meridiana; and finally ending with a visual dialogue, thanks to the use of video screens, a virtual reconstruction between the current arrangement and the historical one, from those years in Florence, in the Pitti Palace, in those rooms that we can visit again today, when Italian haute couture was establishing itself internationally as one of the most famous and acclaimed in the world of excellence, according to a tradition that still continues seamlessly to this day.

The exhibition considers the different techniques and forms of self-representation, studying artists who taught at or studied at the Florentine Academy - such as Baldassarre Calamai, who depicted himself in a pencil sketch in 1844, or more controversial figures - such as the forger Egisto Rossi, represented here by three drawings. Among the most important self-portraits painted at the end of the century, it is undoubtedly worth mentioning the two self-portraits by the Florentine sculptor Adriano Cecioni (pen) and the Ticino painter Antonio Ciseri (pencil), who moved to Florence at a very young age. In art prints, the 19th century is represented by three great figures: Domenico Morelli, whose recently purchased rare print, made during his stay in Florence in 1852, is exhibited side by side with another unpublished version of the same subject; Federico Faruffini, with his strange and painful self-portrait; and Giovanni Fattori, who closed the century with his famous zinc etchings, and whose prints and engraving matrices are presented here. Finally, a tribute is paid to a figure who played an important role in the history and formation of the Uffizi collection of works on paper: Anthony De Witt, whose self-portrait dates from 1897, exhibited in the form of a charming etching, corrected in black pencil. The collection of the Uffizi Galleries’ Prints and Drawings Department is one of the most important graphic collections in the world, both in terms of artistic value and the number of works preserved (about 180,000 sheets). The core of the first systematic ordering of the collection dates back to the mid-17th century, thanks to Cardinal Leopoldo de' Medici, although some paintings had already entered the Medici collection in the 16th century, thanks to Cosimo I de' Medici, the first Grand Duke of Tuscany. In addition to being a largely historic collection, it is a precious testimony of the Grand Duke's patronage and, moreover, a collection that, far from closing, has continued to grow, thanks to constant purchases and donations of older works and donations.

The exhibition considers the different techniques and forms of self-representation, studying artists who taught at or studied at the Florentine Academy - such as Baldassarre Calamai, who depicted himself in a pencil sketch in 1844, or more controversial figures - such as the forger Egisto Rossi, represented here by three drawings. Among the most important self-portraits painted at the end of the century, it is undoubtedly worth mentioning the two self-portraits by the Florentine sculptor Adriano Cecioni (pen) and the Ticino painter Antonio Ciseri (pencil), who moved to Florence at a very young age. In art prints, the 19th century is represented by three great figures: Domenico Morelli, whose recently purchased rare print, made during his stay in Florence in 1852, is exhibited side by side with another unpublished version of the same subject; Federico Faruffini, with his strange and painful self-portrait; and Giovanni Fattori, who closed the century with his famous zinc etchings, and whose prints and engraving matrices are presented here. Finally, a tribute is paid to a figure who played an important role in the history and formation of the Uffizi collection of works on paper: Anthony De Witt, whose self-portrait dates from 1897, exhibited in the form of a charming etching, corrected in black pencil. The collection of the Uffizi Galleries’ Prints and Drawings Department is one of the most important graphic collections in the world, both in terms of artistic value and the number of works preserved (about 180,000 sheets). The core of the first systematic ordering of the collection dates back to the mid-17th century, thanks to Cardinal Leopoldo de' Medici, although some paintings had already entered the Medici collection in the 16th century, thanks to Cosimo I de' Medici, the first Grand Duke of Tuscany. In addition to being a largely historic collection, it is a precious testimony of the Grand Duke's patronage and, moreover, a collection that, far from closing, has continued to grow, thanks to constant purchases and donations of older works and donations.

The exhibition considers the different techniques and forms of self-representation, studying artists who taught at or studied at the Florentine Academy - such as Baldassarre Calamai, who depicted himself in a pencil sketch in 1844, or more controversial figures - such as the forger Egisto Rossi, represented here by three drawings. Among the most important self-portraits painted at the end of the century, it is undoubtedly worth mentioning the two self-portraits by the Florentine sculptor Adriano Cecioni (pen) and the Ticino painter Antonio Ciseri (pencil), who moved to Florence at a very young age. In art prints, the 19th century is represented by three great figures: Domenico Morelli, whose recently purchased rare print, made during his stay in Florence in 1852, is exhibited side by side with another unpublished version of the same subject; Federico Faruffini, with his strange and painful self-portrait; and Giovanni Fattori, who closed the century with his famous zinc etchings, and whose prints and engraving matrices are presented here. Finally, a tribute is paid to a figure who played an important role in the history and formation of the Uffizi collection of works on paper: Anthony De Witt, whose self-portrait dates from 1897, exhibited in the form of a charming etching, corrected in black pencil. The collection of the Uffizi Galleries’ Prints and Drawings Department is one of the most important graphic collections in the world, both in terms of artistic value and the number of works preserved (about 180,000 sheets). The core of the first systematic ordering of the collection dates back to the mid-17th century, thanks to Cardinal Leopoldo de' Medici, although some paintings had already entered the Medici collection in the 16th century, thanks to Cosimo I de' Medici, the first Grand Duke of Tuscany. In addition to being a largely historic collection, it is a precious testimony of the Grand Duke's patronage and, moreover, a collection that, far from closing, has continued to grow, thanks to constant purchases and donations of older works and donations.

Valter Bernardeschi’s photographs are vibrant testimonies of natural life, captured with a rare sensitivity and impeccable technique. Each image tells a story, revealing the majesty and vulnerability of nature in all its complexity.

Valter Bernardeschi’s photographs are vibrant testimonies of natural life, captured with a rare sensitivity and impeccable technique. Each image tells a story, revealing the majesty and vulnerability of nature in all its complexity.

"Carlo Maria Mariani. Arte beyond time" is the title of the exhibition hosted in the Andito degli Angiolini in Palazzo Pitti untill the 1st of December 2024. The exhibition consists of sixteen works by the Italian painter and internationally recognized contemporary master, who passed away in 2021 at the age of 90 in New York, and is curated by Clayton Calvert, executive director of The Carlo Maria Mariani and Carol Lane Mariani Foundation of New York and the art critic Vittorio Sgarbi. The exhibition covers a time span of over 50 years of the artist's production from 1968 to 2019 and includes contributions from the Foundation that bears his name, from the MART of Trento and Rovereto, from the Achille Forti Modern Art Gallery Collection of Verona, from Museo del Novecento in Milan and from the Antonio Martino Collection in Rome.

"Carlo Maria Mariani. Arte beyond time" is the title of the exhibition hosted in the Andito degli Angiolini in Palazzo Pitti untill the 1st of December 2024. The exhibition consists of sixteen works by the Italian painter and internationally recognized contemporary master, who passed away in 2021 at the age of 90 in New York, and is curated by Clayton Calvert, executive director of The Carlo Maria Mariani and Carol Lane Mariani Foundation of New York and the art critic Vittorio Sgarbi. The exhibition covers a time span of over 50 years of the artist's production from 1968 to 2019 and includes contributions from the Foundation that bears his name, from the MART of Trento and Rovereto, from the Achille Forti Modern Art Gallery Collection of Verona, from Museo del Novecento in Milan and from the Antonio Martino Collection in Rome.

"Carlo Maria Mariani. Arte beyond time" is the title of the exhibition hosted in the Andito degli Angiolini in Palazzo Pitti untill the 1st of December 2024. The exhibition consists of sixteen works by the Italian painter and internationally recognized contemporary master, who passed away in 2021 at the age of 90 in New York, and is curated by Clayton Calvert, executive director of The Carlo Maria Mariani and Carol Lane Mariani Foundation of New York and the art critic Vittorio Sgarbi. The exhibition covers a time span of over 50 years of the artist's production from 1968 to 2019 and includes contributions from the Foundation that bears his name, from the MART of Trento and Rovereto, from the Achille Forti Modern Art Gallery Collection of Verona, from Museo del Novecento in Milan and from the Antonio Martino Collection in Rome.

Get ready to laugh your socks off at The Over Yonder Comedy Tour in Florence, AL - it's gonna be a riot! Welcome to The Over Yonder Comedy Tour in Florence, AL! Get ready for a night of laughter and fun as talented comedians take the stage at Singin' River Brewing. Join us on Fri, Oct 11, 2024 at 8:00 PM for a hilarious evening you won't want to miss. Grab your friends and come on down for a night of side-splitting jokes and good times. See you there! Information Source: David Goolsby | eventbrite

Experience a day of golf, camaraderie, and support at the 15th Annual Earle Trent Golf Classic. Taking place at the picturesque Blackberry Trail Golf Course in Florence, AL on October 11, 2024, this event is a must for golf enthusiasts of all levels. The registration fee of $125 covers a cart, lunch, a golf shirt, and a swag bag, ensuring a memorable day on the greens. Proceeds from the tournament benefit the Earle Trent Assembly, a Christian camp and retreat center nestled on 94 acres with 600' of waterfront on Shoal Creek. The tournament kicks off at 9 am with three flights in a four-man scramble format, offering opportunities to win prizes such as the Hole-in-One, Longest Drive, Closest to the Pin, and the coveted Pastor's Cup. Secure your spot now for a day of golfing with fellow supporters of Earle Trent Assembly.

本次当代艺术日ISOLART与VillaSchneiderf展区的展览主题为“INSIDE”（囿梦于笼），通过当代艺术探索个体与社会的内在矛盾与自由渴望。以女性艺术家Tomaso Binga的标志性作品《Donna in Gabbia》为核心，这次展览反思了性别不平等、社会束缚与个人解放的复杂关系。展览主题“囿梦于笼”象征着内心梦想在外部世界的束缚中挣扎，却也透过艺术的表现形式展现出解放与突破的可能性。

本次当代艺术日ISOLART与VillaSchneiderf展区的展览主题为“INSIDE”（囿梦于笼），通过当代艺术探索个体与社会的内在矛盾与自由渴望。以女性艺术家Tomaso Binga的标志性作品《Donna in Gabbia》为核心，这次展览反思了性别不平等、社会束缚与个人解放的复杂关系。展览主题“囿梦于笼”象征着内心梦想在外部世界的束缚中挣扎，却也透过艺术的表现形式展现出解放与突破的可能性。

本次当代艺术日ISOLART与VillaSchneiderf展区的展览主题为“INSIDE”（囿梦于笼），通过当代艺术探索个体与社会的内在矛盾与自由渴望。以女性艺术家Tomaso Binga的标志性作品《Donna in Gabbia》为核心，这次展览反思了性别不平等、社会束缚与个人解放的复杂关系。展览主题“囿梦于笼”象征着内心梦想在外部世界的束缚中挣扎，却也透过艺术的表现形式展现出解放与突破的可能性。

Terre degli Uffizi returns to San Casciano with an exhibition exploring, for the first time, the work of macchiaiolo Stanislao Pointeau. A tribute to Prof. Carlo Del Bravo Terre degli Uffizi returns to San Casciano with a monographic exhibition devoted, for the very first time, to the Franco-Florentine painter Stanislao Pointeau and to the role he played in the birth and development of the Macchiaolo style in Florence and in Tuscany. The exhibition at the Museo Giuliano Ghelli, due to run from 26 October to 16 February, is entitled “Stanislao Pointeau – A Tuscan Macchiaiolo of French Descent”. The exhibition is curated by Michele Amedei and organised by the Comune di San Casciano in Val di Pesa as part of the Fondazione CR Firenze and Gallerie degli Uffizi exhibition programme, in the context of their respective Piccoli Grandi Musei and Uffizi Diffusi schemes. After the exhibition devoted to Jacopo Vignali, this is once again a tribute to Carlo del Bravo, the diligent art historian from San Casciano whose research in the late 1970s led to Stanislao Pointeau’s rediscovery.

Terre degli Uffizi returns to San Casciano with an exhibition exploring, for the first time, the work of macchiaiolo Stanislao Pointeau. A tribute to Prof. Carlo Del Bravo Terre degli Uffizi returns to San Casciano with a monographic exhibition devoted, for the very first time, to the Franco-Florentine painter Stanislao Pointeau and to the role he played in the birth and development of the Macchiaolo style in Florence and in Tuscany. The exhibition at the Museo Giuliano Ghelli, due to run from 26 October to 16 February, is entitled “Stanislao Pointeau – A Tuscan Macchiaiolo of French Descent”. The exhibition is curated by Michele Amedei and organised by the Comune di San Casciano in Val di Pesa as part of the Fondazione CR Firenze and Gallerie degli Uffizi exhibition programme, in the context of their respective Piccoli Grandi Musei and Uffizi Diffusi schemes. After the exhibition devoted to Jacopo Vignali, this is once again a tribute to Carlo del Bravo, the diligent art historian from San Casciano whose research in the late 1970s led to Stanislao Pointeau’s rediscovery.

Terre degli Uffizi returns to San Casciano with an exhibition exploring, for the first time, the work of macchiaiolo Stanislao Pointeau. A tribute to Prof. Carlo Del Bravo Terre degli Uffizi returns to San Casciano with a monographic exhibition devoted, for the very first time, to the Franco-Florentine painter Stanislao Pointeau and to the role he played in the birth and development of the Macchiaolo style in Florence and in Tuscany. The exhibition at the Museo Giuliano Ghelli, due to run from 26 October to 16 February, is entitled “Stanislao Pointeau – A Tuscan Macchiaiolo of French Descent”. The exhibition is curated by Michele Amedei and organised by the Comune di San Casciano in Val di Pesa as part of the Fondazione CR Firenze and Gallerie degli Uffizi exhibition programme, in the context of their respective Piccoli Grandi Musei and Uffizi Diffusi schemes. After the exhibition devoted to Jacopo Vignali, this is once again a tribute to Carlo del Bravo, the diligent art historian from San Casciano whose research in the late 1970s led to Stanislao Pointeau’s rediscovery.

"The Best of Both Worlds" event is set to take place in Florence at the Florence Center on October 26, 2024. The venue is located at 3300 West Radio Drive, Florence, SC, 29501. This event promises to offer a unique blend of entertainment, combining the best of two different worlds for an unforgettable experience. Attendees can expect a variety of performances, activities, and attractions that cater to diverse interests and tastes. Make sure to mark your calendar for this exciting event that is sure to showcase the best of what both worlds have to offer.