意大利文艺复兴不是一个概念，而是和很多人物和事件相关。    本次大都会博物馆展览名为文艺复兴肖像特展：从多纳泰罗到贝里尼。呈现了文艺复兴时期佛罗伦萨的人物形象，尽管时间已经过去了600年，数一数当年的风流人物，领略昔日的历史辉煌。展览时间12月21日至明年年3月18日。（详情见图片后面内容）

上面两图：波提切利的美女

上图：佛罗伦萨美女

小型的肖像画

上面两图：来自卢浮宫的爷孙俩

上图：多纳泰罗创作的雕塑

上面三图均为美第奇家族成员

上图：达芬奇笔下的罗伦佐·美第奇

更多内容，请看侨报2012年12月30日报道：

http://epaper.sinovision.net/?pid=29050

下面内容，来自大都会博物馆网站：

It has been said that the Renaissance witnessed the rediscovery of the individual. In keeping with this notion, early Renaissance Italy also hosted the first great age of portraiture in Europe. Portraiture assumed a new importance, whether it was to record the features of a family member for future generations, celebrate a prince or warrior, extol the beauty of a woman, or make possible the exchange of a likeness among friends. This exhibition will bring together approximately 160 works—by artists including Donatello, Filippo Lippi, Botticelli, Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni Bellini, and Antonello da Messina, and in media ranging from painting and manuscript illumination to marble sculpture and bronze medals, testifying to the new vogue for and uses of portraiture in fifteenth-century Italy.

During the early Renaissance, artists working in Florence, Venice, and the courts of Italy created magnificent portrayals of the people around them—from heads of state and church to patrons, scholars, poets, and artists—concentrating for the first time on producing recognizable likenesses and expressions of personality. The rapid development of portraiture was linked closely to Renaissance society and politics, ideals of the individual, and concepts of beauty. The object may have been to commemorate a significant event—a marriage, death, the accession to a position of power—or it may have been to record the features of an esteemed member of the family for future generations.

Featuring many rare international loans, this exhibition will present an unprecedented survey of the period and provide new research and insight into the early history of portraiture. It will be divided into three sections and will span a period of eight decades. Beginning in Florence, where independent portraits first appeared in abundance, it moves to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and papal Rome, and ends in Venice, where a tradition of portraiture asserted itself surprisingly late in the century.