The Adoration of the Magi by Leonardo Return in Uffizi

Florence, "The Adoration of the Magi" restored again in the museum of the Uffizi Gallery. After 5 years and a half of restoration they have managed to return the colors and restore the damaged parts of this important work of Leonardo da Vinci.

The "Adoration of the Magi" is the largest unfinished work of art that the great Leonardo da Vinci made between 1481 and 1482.

The Adoration of the Magi Return in Uffizi Gallery

The restoration of this work of Leonardo da Vinci was a complex work which has taken over the prestigious laboratory of the Opificio delle Pietre Dure in Florence.

The first phase of the restoration was characterized by a series of precise diagnostic tests that allowed to focus on the damage of the painting, after the complex analysis began the delicate work of restoration.

Such restoration work has been possible thanks to the generous contribution of the Association of Friends of the Uffizi.

To celebrate the return of the "Adoration of the Magi", an exhibition titled "The Magical Universe of Leonardo da Vinci: The Adoration of the Kings restored" will be held at the Uffizi Gallery, the exhibition will take place in the rooms of the first floor of the gallery and can be visited by the public from 28 March to 24 September.

Along with the work of Leonardo da Vinci,it will be exposed the version of "Adoration" by Filippino Lippi in 1946 ; this work was commissioned by the monks of San Donato, who thought that Leonardo was not going to be able to finalize his work, and he sent Lippi another, so as not to remain without his "Adoration".

After the exhibition, the work will be moved to the new room dedicated to the works of Leonardo da Vinci, on the second floor of the Uffizi, along with other masterpieces such as the "Baptism of Christ" and the "Annunciation".

The difficult task of restoration of this work lasted five and a half years, a record time for a work of this type, the decision to restore the painting was taken urgently due to the severe and progressive confusion of the pictorial surface, which was making impossible Admire the painting.