Plan of the Uffizi — Dale Henry

PLAN OF THE UFFIZI, 1973

First exhibited at John Weber Gallery in 1973. Originally a series comprised of an installation wall painting, a stand and guidebook, 23 trapezoidal acrylic on canvas paintings, and a private viewing room (the private viewing room was later deemed unsuccessful by the artist and not to be reproduced). Shown here are the 23 trapezoidal canvases and a recreation of the stand and guidebook element.

This piece was created after Henry’s visit to the Uffizi Gallery in Florence, Italy. For this piece Henry meditates on the experience of the viewing artwork at the Uffizi Gallery which, according to him, always included some level of mediation and remove from the artwork, including crowds that obscured the view of the work, the reflective surface of the protective glass covering an artwork, the guidebook for the gallery, and the experience of the tourist and travel. The shape of these canvas paintings was meant to evoke both the size and shape of airline seat backs and a person’s torso. The clear reflective acrylic images on the canvases are sections of paintings reproduced from photographs included in a guidebook of the Uffizi Gallery.

After a photograph of Jean Baptiste Chardin, Girl with a Shuttlecock - Room XLII_ To Vlad Nab; Item #099

After a photograph of Cimabue, Madonna and Child with Angels and Prophets (detail) – Room II; Item #100

After a photograph of Giottino, Deposition - Room IV; Item #101

After a photograph of Andrea Mantegna, Circumcision – Room XX; Item #102

After a photograph of Jacopo Carucci called Pontormo, Portrait of Maria Salviati – Room XVIII (Tribuna); Item #103

After a photograph of Giovanni Battista Moroni, Count Pietro Secco Suardi – Room XXXIV; Item #104

After a photograph of Giovanni Bellini, Sacred Allegory – Room XXI; Item #105

After a photograph of Sandro Botticelli, The Calumny – Room XI; Item #106

After a photograph of Leonardo Da Vinci, Annunciation – Room XVI; Item #107

After a photograph of Francesco Mazzola called Parmigianino, The Madonna with the long neck – Room XXXIX_ For Sidney J. Freedberg; Item #108

After a photograph of Piero Della Francesca, The Triumph of Federico di Montefeltro – Room XLIV; Item #109

After a photograph of Annibale Carracci, Bacchante – Room XLIV; Item #111

After a photograph of Raphael, Pope Leo X – Room XXV; Item #112

After a photograph of Titian, The Urbino Venus – Room XXVIII; Item #113

After a photograph of Rembrandt van Rijn, Youthful Self- Portrait – Room XXI; Item #114

After a photograph of Jacopo Robusti called Tintoretto, Portrait of an Admiral – Room XXXV; Item #115

After a photograph of Sandro Botticelli, Primavera – Room X; Item #116

After a photograph of Paolo Uccello, The Battle of San Romano – Room VII; Item #117

After a photograph of Michelangelo Merisi called Caravaggio, The Sacrifice of Isaac – Room XLIV; Item #118

After a photograph of Pietro Lorenzetti, Episodes from the life of the Blessed Umlita (detail) – Room III; Item #119

After a photograph of Eugene Delacroix, Self-Portrait – Vasarian Corridor; Item #120

After a photograph of Rosalba Carriera, Flora – Room XLII; Item #121