Galleria dell'Accademia in the context of "David (Michelangelo)"

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⭐ Core Definition: Galleria dell'Accademia

The Galleria dell'Accademia di Firenze (English: Gallery of the Academy of Florence) is an art museum in Florence, Italy. It is best known as the home of Michelangelo's sculpture David. It also has other sculptures by Michelangelo and a large collection of paintings by Florentine artists, mostly from the period 1300–1600 (the Trecento to the Late Renaissance). It is smaller and more specialised than the Uffizi, the main art museum in Florence. It adjoins the Accademia di Belle Arti or academy of fine arts of Florence, but despite the name has no other connection with it.

In 2016, it had 1.46 million visitors, making it the second-most-visited art museum in Italy, after the Uffizi (2.02 million).

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👉 Galleria dell'Accademia in the context of David (Michelangelo)

David is a masterpiece of Italian Renaissance sculpture in marble created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the High Renaissance, and since classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell'Accademia, Florence. In 1910 a replica was installed at the original site on the public square.

The biblical figure David was a favoured subject in the art of Florence. Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family.

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Galleria dell'Accademia in the context of History of nude art

The historical evolution of the nude in art runs parallel to the history of art in general, except for small particularities derived from the different acceptance of nudity by the various societies and cultures that have succeeded each other in the world over time. The nude is an artistic genre that consists of the representation in various artistic media (painting, sculpture or, more recently, film and photography) of the naked human body. It is considered one of the academic classifications of works of art. Nudity in art has generally reflected the social standards for aesthetics and morality of the era in which the work was made. Many cultures tolerate nudity in art to a greater extent than nudity in real life, with different parameters for what is acceptable: for example, even in a museum where nude works are displayed, nudity of the visitor is generally not acceptable. As a genre, the nude is a complex subject to approach because of its many variants, both formal, aesthetic and iconographic, and some art historians consider it the most important subject in the history of Western art.

Although it is usually associated with eroticism, the nude can have various interpretations and meanings, from mythology to religion, including anatomical study, or as a representation of beauty and aesthetic ideal of perfection, as in Ancient Greece. Its representation has varied according to the social and cultural values of each era and each people, and just as for the Greeks the body was a source of pride, for the Jews—and therefore for Christianity—it was a source of shame, it was the condition of slaves and the miserable.

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Galleria dell'Accademia in the context of Francesco Sabatelli

Francesco Sabatelli (February 22, 1803 – August, 1830) was an Italian painter.

Born at Florence, he first trained with his father, the Milanese painter Luigi Sabatelli, then later in Rome and Venice. In 1823, he moved to Florence on the invitation of the government of Leopold II, and became a professor in the Accademia di Belle Arti. His younger brother, Giuseppe Sabatelli (1813–1843), later also served as a professor in the Accademia in Florence.

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