Transcript Late Florence Years

Leonardo da Vinci
His paintings – A Search for Perfection
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free for non-commercial and personal use.
First created 11 Feb 2012. Version 1.0 - 23 Feb 2012. Jerry Tse. London.
Vinci 2011.
Leonardo was born in or near the town of Vinci, about half
way between Florence and Pisa, on 15 April 1452. He was the
illegitimate son of a rising Florentine legal official Ser Piero
da Vinci. He was good at drawing and was enrolled with the
leading Florentine artist of Verrocchio in 1469, at the age of
17.
Leonardo was probably the greatest artists of the
Renaissance. His studies were strictly based in the scientific
methods, on vigorous analysis and on objective reasoning.
But it was his inquisitive mind that drove the man forever
forward to understand our place in nature.
According to Vasari ‘Leonardo disposition was so lovable
that he commanded everyone’s affection’, and there are
many other accounts of his good looks and charm, as well
as his sense of humour and love of practical jokes. Yet he
always had a deep distrust of human society. “Alone you
are all yourself.”
Knot pattern inscribed ‘Academia Leonardo Vi-ci’.
1495. Engraving. British Museum, London.
Leonardo contemporaries
Timeline Renaissance Painters
His Early Florentine Years
1452-1483
Early Florentine Years
According to Vasari “Leonardo painted
(the left-hand angels) in such a manner
that his angel was far better than the
figure painted by Verrocchio (Leonardo’s
teacher).
This was the reason why
Andrea would never touch colours
again, he was so ashamed that a boy
understood their use better than he did.”
The Baptism of Christ. C1470-72. Verrocchio. Uffizi, Florence.
Early Florence Years
The Annunciation. 1472-74. Galleria degli Uffizi, Florence.
This is Leonardo’s earliest known complete work. Even at this early stage he had developed his distinctive style of
painting flowers. The dark trees and the dark wall behind the angel and Mary demonstrate his use of the Chiaroscuro
technique.
Early Florence Years
The lily held by the Archangel Gabriel is
a symbol of Mary’s purity.
The Annunciation (Detail – Angel). 1472-74.
Galleria degli Uffizi, Florence.
Early Florence Years
Leonardo painted Ginevra with a
stiff and solemn expression. This
is rather an uneasy portrait
showing little or no emotion.
Leonardo was the master of using
the
‘Chiaroscuro’
technique,
balancing the light and the dark
areas. He often used a lighted
subject
against
a
skilfully
darkened background.
Ginevra de Benci. C1474. National
Gallery, Washington, USA.
Early Florence Years
The portrait of Ginevra shows the use of the technique of ‘Sfumato’ , The
blurring of edges and smoothing colours between adjacent areas. Thus it
eliminates harsh outlines. This was first introduced by Leonardo and
Giorgione. This contrasts with Botticelli’s lining approach.
Comparison
Milan Years
The Milan Years
In 1482, Leonardo entered service of
Ludovico II as military engineer and
organiser of festivities, in Milan.
Ludovico Sforza. 1496-99. by Amrogio de
Predis. Tempera on Vellum. Archivio Storico
Civico and Biblioteca Trivulziana, Milan.
1483-1499
Milan Years
Because of the rigid pose and the harshness of the
shadows, some scholars express their doubts that
it was painted by Leonardo. Others pointed to the
fine art of Leonardo’s work on the young man
face. It is possible that there were more than one
painters who worked on the portrait.
The young man has a distinctive stare at
something outside the canvas, encapsulating a
sense of reality. We only know that he was a
musician by the musical score in his hand.
The Musician. c1485. Pinacoteca Ambrosiana, Milan.
Milan Years
There are two versions of this painting, one in the
Louvre, Paris and the other in the National Gallery,
London. The two paintings are nearly identical, with
obvious differences. The Paris version is the older
of the two.
From history of the painting, it looks to me that the
painting was commissioned, in April 1483, for the
chapel of the newly formed Confraternity of the
Immaculate Conception, attached to the church of
San Francesco Grande.
By December 1484, the Paris version of the painting
was nearly finished. Then there was a dispute about
the price of the painting.
In the exchange of
documents, it mentioned that ‘another buyer was
interested’ in the painting. Leonardo and his copainters must have sold the Paris version to ‘another
buyer’.
Then the dispute dragged on until the
London version was painted to fulfil the original
contract, after some further disputes.
There several unusual features of this painting :Why are they in a cave?
Why is St John the Baptist with the Virgin Mary
and not baby Jesus?
Why is the angel pointing to St John the
Baptist in the Paris version?
Virgin of the Rocks. 1483-1485.
Musee du Louvre, Paris.
Milan Years
The Last Supper (Detail – St John).
c1495. Santa Maria delle Grazie, Milan.
Are these the same woman?
Virgin of the Rocks (Detail). 1483-1485.
Musee du Louvre, Paris.
Milan Years
An interpretation of painting
The following interpretation of the
painting is based on a document written
by James Kettlewell on the internet,
which makes sense to me.
Why is St John the Baptist with the
Virgin Mary and not baby Jesus?
The painting is about the Immaculate
Conception (that is born without the Original
Sin) of the Virgin Mary. According to the
Confraternity, both St John and Mary were
born by Immaculate Conception and they are
not divine. They belong together. Baby
Jesus and the angel are grouped together as
they are divine.
Why is the angel pointing to St John the
Baptist?
The angel is pointing out to the viewer
that the painting is about St John, who
according to the Bible was born by
Immaculate Conception. By implication
Virgin Mary the mother of Jesus must be
born by Immaculate Conception as well.
This is the whole point of the painting!!
Virgin of the Rocks (Detail). 1483-1485.
Musee du Louvre, Paris. Edited for fading.
Milan Years
Dialogue of hands.
The angel is looking at us and pointing
at St John the Baptist.
Virgin of the Rocks (Detail). 1483-1485.
Musee du Louvre, Paris. [Image with
fading removed and brightened.
Milan Years
There are two versions of the painting one in Paris and the other in London.
Milan Years
This is the London version of the painting. It is a later
painting. Unlike the Paris version the painting has
been restored, it is brighter and the colours more
vivid. The painting was painted in 1495-1499. The
Confraternity of the Immaculate Conception and the
artists continued their arguments about the contract.
It was finally finished some time between 1506 and
1508.
The major difference between the London version
and the Paris version is that the angel no longer
points to St John the Baptist and no longer looks
toward the viewer. In 1483, Vatican gave support to
the idea of the Immaculate Conception of Virgin Mary
and condemned those who preached against it.
Maybe it was this declaration that the Confraternity
no longer felt the need for the angel to point at St
John the Baptist.
So why are they in a cave?
James Kettlewell thinks that Virgin at a grotto is a
traditional setting in art. Others think that this may
be a reference to the stainless Virgin as in God’s
creation of the world. Others point to the meeting
with St John on the flight into Egypt. The rugged
cave would be such a remote place to offer seclusion
and refuge. Still others think that the cave is a
symbol of Mary, as in the Song of Song (114), in
which Mary is described as “dove … in the clefts of
the rock”.
Finally, in the specification of the
painting, the Confraternity did make the reference to
“the mountains and rocks to be worked in oil”.
Virgin of the Rocks. 1495-1499 & 1506-08. National Gallery, London.
Milan Years
Virgin of the Rocks (Detail). 1495-1499 & 1506-08. National Gallery, London.
Milan Years
Virgin of the Rocks (Angel). 1495-1499 & 1506-08.
National Gallery, London.
She is the most beautiful woman ever
painted in the history of European
paintings. Don’t you agree?
Milan Years
Cecilia Gallerani. C1489-1490. National Museum, Cracow.
The lady was the mistress of Ludovico Sforza (Leonardo’s
boss). Note the very faint shadows of the beads on her chest.
Milan Years
A rather playful baby Jesus, who
noticed our presence.
The exceptional love of a mother?
Madonna Litta. c1490-91. Hermitage. St Petersburg.
Milan Years
Sometimes this painting is attributed to
Leonardo’s followers.
The most disconcerting feature of the
portrait is the intensity of her gaze,
perhaps with a hint of hostility. The
expression of the rest of her face is
somewhat sober. The title of the painting
is called ‘La Belle
Ferroniere (The
beautiful ironmonger)’.
However the title ‘La Belle Ferroniere’
was a 1642 confusion, in which this
painting was mistakenly identified.
In reality, we do not have much idea who
the sitter really was.
La Belle Ferroniere (Detail). C1490-1495.
Musee du Louvre, Paris.
Milan Years
The Last Supper. 1496-97. Santa Maria delle Grazie, Milan.
Four groups of three disciples and three windows behind Jesus. The disciples were behaving more like Italian
than Jew with their hand gestures and heated discussions, in an atmosphere charged with emotions. Jesus was
isolated in the painting. He alone would have to face what was to come.
Milan Years
Andrew
Bartholomew
James the Less
Peter with
knife
Judas with
his money
The Last Supper (Detail). 1496-97. Santa Maria delle Grazie, Milan.
John
with
tear
Milan Years
James the
Elder
Phillip
Jesus
Thomas with his
poking finger
The Last Supper (Detail). 1496-97. Santa Maria delle Grazie, Milan.
Matthew
Simon
Thaddeus
Milan Years
Juda
St James the Elder
Studies of the disciples in
the Last Supper.
The painting is noted for its
emotionally
charged
expressions
and
the
animated gestures of the
disciples.
Drawing studies of The Last
Supper.
Milan Years
St Bartholomew
St Philip
Studies of the disciples in
the Last Supper.
The painting is noted for
its emotionally charged
expressions
and
the
animated gestures of the
disciples.
Drawing studies of The Last
Supper.
Milan Years
The Last Super, after Leonardo da Vinci. c1520. Giovanni Pietro Rizzoli. Magdalen College, Oxford.
Only around 20% of Leonardo’s Last Supper is still visible today. However, an accurate copy and almost the same
size as the original Last Supper, still in good conditions exists. It was painted about 25 years later by Rizzoli. This
painting was used extensively for reference, during the 20-year-restoration of the original painting in Milan.
Milan Years
A rediscovered portrait by Leonardo?
The name of the young woman of the portrait was
Bianca Sforza, an illegitimate daughter of the
Duke of Milan. She was 13 or 14 at the time of the
portrait and died a few months later.
Investigators of the portrait demonstrated that it was
painted by Leonardo, when it was shown to be from a
missing page of a 500 year-old-book, at the National Library
of Poland, Warsaw. The book was commissioned for the
1496 wedding of Bianca Sforza. [For further details see
February 2012 issue of National Geographic magazine,
which funded the investigation.]
However, there are scholars that expressed their doubts on
the portrait. David Ekserdjian, a scholar of 16C Italian
drawings, suspects the work is a “counterfeit”. [see
Wikipedia].
La Bella Principessa (Bianca Sforza). Colour chalk
on paper. 1496. Private Collection.
Late Florence
His Late Florentine Years
1499-1517
Late Florence years
La Gioconda (Mona Lisa). 1503-05. Musee du Louvre, Paris.
Late Florence years
Mona Lisa was the second wife of a
Florentine silk merchant Francesco del
Giocondo, hence its title La Gioconda.
Leonardo worked on it for four years
and never delivered the finished work.
He kept the painting for himself and
brought it with him to France.
The painting is now in poor condition
and the glazed varnish has now cracked
and turned a dirty green. Today it is
hung in a bullet-proof glass cage.
Recent research discovered the death
certificate of Mona Lisa, who died in
1542, in the convent of St Orsola in
central Florence.
The use of ‘Sfumato’, the blurring of
edges and smoothing colours to
eliminate harsh outlines, on the lips,
may have led to the enigmatic smile of
Mona Lisa.
Illustration from National Geographic
Magazine Feb 2012.
Late Florence years
This is a copy of the Mona Lisa in the Prado
Museum, before cleaning and restoration.
As the black paint was removed, the museum
discovered the familiar landscape of the
original Mona Lisa. The work is believed to
have been made by an apprentice of Leonardo,
possible painted at the same time as the
original. The painting shows greater details
and brighter colours.
Late Florence Years
Late Florence Years
Madonna of the Yarnwinder. 1501-7. Leonardo &
Giacomo Salai (?). Private Collection. New York.
Madonna of the Yarnwinder. 1499 onward. Leonardo &
Anonymous painter. Duke of Buccleuch.
Late Florence Years
The painting depicts Virgin Mary sitting
on the lap of her mother, St Anne, benting
forward to give her son, Jesus support,
as he played with the lamb.
The lamb is the sacrificial lamb, which
baby Jesus was holding.
Mary
symbolically pulls her son away from his
terrible destiny. This subtle message of
the painting is hidden by calm and serene
figures.
The figures of St Anne and Virgin Mary are
jumbled together, with St Anne looking as
young as her daughter. The arrangement
of the three feet make it even easier to
confuse the two women.
All the figures are set against the backdrop
of a striking mountains landscape.
Consistently, Leonardo used mountain
backdrop to give paintings their depth.
The mountain backdrop can be found in
his early painting of Annunciation, The
Virgin of the Rocks, Madonna Litta, The
Last Supper, the Mona Lisa etc. The
presence of mountains in his paintings
could also be connected to his interest in
geological and hydrological studies.
St Anne also carries one of Leonardo’s
distinctive enigmatic smile.
The Virgin and Child with St Anne. 1508-13.
Musee du Louvre, Paris.
Late Florence Years
The Virgin and Child with St Anne. 1508-13. Musee du Louvre, Paris.
Late Florence Years
The relation between this Leonardo’s Burlington
House Cartoon in London and The Virgin and Child
with St Anne in the Louvre is far from clear.
Scholars are still uncertain.
The drawing depicts Mary seated on her mother’s
knee (St Anne) twisted to hold onto baby Jesus,
who was preoccupied with his cousin St John the
Baptist. Note St Anne was depicted on the same
level as Mary and her right shoulder and her right
arm was missing.
Cartoon : Virgin & Child with St Anne & St John
the Baptist. c1501. National Gallery, London
Late Florence Years
The painting was last acquired in 2005. It has been
authenticated by a group of experts in 2007. It was
first exhibited in London in 2011, after its latest
restoration.
The painting shows Christ holding a clear crystal
sphere, painted in delicacy and precision. It was
painted for the King of France.
Tiny specks of bubble in the globe, suggest it is made
of quartz crystal. The secret knowledge of working the
crystal into a sphere was lost at the time of the
painting. Thus the spherical crystal was a
representation of perfection.
Christ as Salvator Mundi. 1506 onward. Private Collection.
France
The last years 1517-1519
In 1517 Leonardo went to France, at the invitation of Francis I. He died in May 1519, aged 67. Ingres painted the
above in 1818, as he imagined that Leonardo died in the arms of Francis I, as his honoured guest.
Leonardo Portraits
Do you think the facial expressions of Leonardo’s portraits change with time?
Leonardo Portraits
These faces were painted after 1500. Are the expressions looking different from the earlier faces?
Leonardo Timeline
There are only about 16 paintings
which are believed to be painted
by Leonardo existing today, in the
world.
1452 – 1519 67 years
The End
A16C copy of Leonardo’s Battle of Anghiari painted
as fresco in the Palazzo Vecchio, Florence.
“I am well aware that because I did not study the ancients, some foolish men will accuse me of being uneducated.
They will say that because I did not learn from their school books, I am unqualified to express an opinion. But I
would reply that my conclusions are drawn from first hand experience, unlike the scholars who only believe what
they read in books written by others.” Leonardo da Vinci.
All rights reserved. Rights belong to their respective owners.
Available free for non-commercial and personal use.
Music – Julian Bream plays the Vivaldi Concerto
in D for Lute and string RV93.