{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":13,"n_cols":5,"rows_kept":13,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[6,2,6,3],[7,2,7,3],[8,2,8,3],[9,2,9,3],[10,2,10,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910473940503321"]
[null,null,"Autore",null,"Betti Marco"]
[null,null,"Titolo",null,"Donum : Studi Di Storia Della Pittura, Della Scultura e Del Collezionismo a Firenze Dal Cinquecento Al Settecento"]
[null,null,"Pubbl/distr/stampa",null,"Florence, : Firenze University Press, 2020"]
[{"$nulls":4},"Florence : , : Firenze University Press, , 2020"]
[{"$nulls":4},"©2020"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 electronic resource (22 p.)"]
[null,null,"Collana",null,"Studi e saggi"]
[null,null,"Lingua di pubblicazione",null,"Italiano"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Francesco Soderini (1671-1736), father of Mauro Soderini (1703-1751), was a Florentine painter who worked for the last members of the Medici dynasty, expecially for the Electress of the Palatinate Anna Maria Luisa, the only daughter of the granduke Cosimo III de’ Medici. Among the artist’s works, only the paintings for Villa La Quiete, the place where Anna Maria Luisa stayed during her last years, are well studied. This paper proposes new attributions to Soderini by recognising his style in some canvases presented on the art market and attributed to anonymous artists. These paintings contribute to a more accurate acknowledgement of the artist and of his style, which was very appreciated by his contemporaries."]