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Leonardo da Vinci-

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Barbatelli is the first self-portrait of Leonardo da Vinci

Wednesday, 28 January, 2009

had been identified as Galileo Galilei, but may be the oldest self-portrait of Leonardo. To make a sensational discovery in a private collection in the region was Barbatelli Nicola, dell'OSMTJ researcher in the course of an investigation entrusted to him by the same order on the presence of the Templars in Lucania. Tutto è cominciato 5 anni fa in Basilicata, dove Barbatelli stava effettuando ricerche su una famiglia nobile di Acerenza, che lo ha portato a individuare conferme della presenza di confraternite di dottrina pitagorica, come le tele di Antonio Stabile. Queste lo hanno condotto al dipinto. «Ho capito subito che non era Galileo – dice Barbatelli – postura del soggetto, stile e tecnica rimandavano all’autoritratto leonardesco degli Uffizi. Questo, però, sembrava antecedente, il soggetto è più giovane di vent’anni. Esami in laboratorio hanno attestato che il dipinto è più antico di quello di Firenze. Ma siamo solo agli inizi, l’attribuzione non è certa e passa per vari esami». Ora allo studio di Alessandro Vezzosi, direttore del Museo Ideale Leonardo da Vinci, il dipinto è stato concesso in comodato al Comune di Vaglio. La presenza di Leonardo in Lucania sarebbe confermata da Vasari. Per l’attribuzione ufficiale occorre aspettare ancora, ma gli esperti escludono possa trattarsi di una copia .Continua

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ROMA (1 marzo) - Piero Angela, conduttore del programma Ulisse, ha scoperto un autoritratto di Leonardo da Vinci. È la seconda scoperta del grande genio di Vinci a distanza di poche settimane. Nei giorni scorsi, infatti, scoperto in Lucania, ad Acerenza, da Nicola Barbatelli, a scholar of medieval history, a new portrait depicting Leonardo. It is an oil on board 60x44 cm for which it was initially assumed a dating to the sixteenth century (up to talk about a self-portrait, or another work of Christopher High, author of "Profile of Leonardo," which the Uffizi, oil on panel, 60x45 cm). The work was then entrusted to be investigated and exposed, Alessandro Vezzosi, director of the Museo Ideale Leonardo Da Vinci, who announced the discovery and that, since 1980, has carried out research on the subject of portraits by Leonardo and his presence and its echoes in the South, leading to many discoveries. Ulysses

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The artistic career of Leonardo da Vinci, passing along the span of almost fifty 'year against the backdrop of historical and cultural contexts very diversi.Alle works by Leonardo, interweave with those of pupils and followers in Lombardy, organized according to a criterion by which to account for, beyond the given time exercised by the production of the master, upon which attracts the attention of artists from different generations, giving rise to diverse results in terms of language while sharing a unique and highest reference model.

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Leonardo da Vinci 1452 - 1519

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Although the painting does not constitute employment Main Leonardo nor the primary reason for its success. As it is usual to think of Leonardo as a personality-eminently Florentine and Tuscan is no doubt that the presence of the artist and his work has greatly contributed, albeit through paths not always linear, the growth of the great masters of the sixteenth century-was Milan , where the artist spent most of his life.

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Self-Portrait, c. 1513, Turin, Biblioteca Reale

Yet in the face of a journey as rich and varied very few are the completed paintings: some were left unfinished, others do not were never delivered to customers, others remained in the possession of the artist who continued to put his hand slowly and intermittently until morte.Leonardo, of course, was not pork but professional man of science and universal genius . Leonardo as an artist: to him we owe the invention of innovative solutions figurative very much in setting the altar, with figures breaking free from the usual architectural parts and fit within a natural environment, as a seductive portrait of psychological insight given to the court.

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The pose of the kneeling Leda, Leonardo
that develops in two designs stored at
Chatsworth and Rotterdm , dated between 1504 and 1505,
lends itself very well to the study of sinuous and complicated. The technique designed
adopted, in pen and brown ink on a
in black chalk.

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Leda-(copy of Leonardo)
about 1505-10. Florence, Galleria degli Uffizi

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Giampietrino (pupil of Leonardo)

Leda with the children about 1515 kassel , staaliche

Museen Gemäldegalerie Alte Meister

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Studies graphs drawn on the theme of Leda kneeling were brought by Leonardo in Milan: some evidence is given by the sons of Leda and Giampietrino , free recollections of Leonardo's model

I Leonardesca - initially in a very limited circle of students (Giovanni Antonio Boltraffio , Marco d ' Oggiono , Francesco Napoletano) At the end of the fifteenth century. after the departure of Leonardo da Milano, the call of his works became magnetizing, the area between Milan and the Venetian for some personality (Solario Andrea, Giovanni Agostino da Lodi), the painters of the new, young generation (Cesare da Sesto, Giampietrino , Bernadino , Luini ): quest'ultimi innestarono la lezione Leonardesca, vivificata poi dalla rinnovata presenza del maestro in Lombardia, con i nuovi stimoli provenienti dalla cultura centro italiana pervenendo a risultati diversificati sul piano linguistico, ma accomunati dalla condivisione di un unico e altissimo modello di riferimento.

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Firenze, Gabinetto dei Disegni e delle Stampe degli Uffizi.

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Londra British Museum - Department -

of Prints and Drawings , nv .1860

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Londra Museum departiment of Prints
and Drawings
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The thick series of pen drawings on the theme of the Madonna with the singular child makes a cat reveals the very good ' entirely new graphic style of Leonardo, which is characterized by a sign intended to evoke rapid and summary rather than to define, the images are likely to continue corrections. In the first drawing of the Virgin is portrayed in three quarters while holding, grabbing a leg, the boy, lying on a trestle, leans dangerously toward the opposite side of the cat trying to disengage from the socket, the strong torsion the bust was completed by the opposite rotation of the head toward the mother, almost wanting to question the reason for this gesture of coercion.

Drawings Leonardo seems to multiply and pursue with great freedom of his imagination, those various possible solutions. It is also here to light a new thought, that of the Virgin suckling the child. It is unknown if this series of studies for the Madonna of the cat ever landed in a painted version, or at least, it seems that this series of paintings in reality constituted the first step in the Benois Madonna , where the why the cat was replaced with that of the flower in the hands of tight mother, to which the child reaches out. The entire series of these studies is very close to a first idea of \u200b\u200bcomposition because of the Benois Madonna .

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Leonardo da Vinci's Madonna with Child (Madonna Benois )

1478-1482 oil on canvas, 48 \u200b\u200b× 31 cm St Petersburg Museum of 'Ermitage

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The painting, whose provenance is known about very uncertain, named after the family that was long in the nineteenth century and that the owner sold it in 1914 Museum russo. Stretta è la parentela che questo disegno dichiara , sia nello stesso grafico con gli studi per la Madonna del gatto, che tennero occupata la mente dell'artista negli ultimi anni del soggiorno fiorentino,venendo tra l'altro a dare conferma della datazione alta generalmente accolta per il dipinto.
Evidente la scarto che la Madonna Benois rivela rispetto alle versioni del tema.
Il dipinto presenta importanti novità anche sotto il profilo compositivo, le due figure sono saldamente unite,al centro del dipinto i nodi più significativi sono:l'incontro con le mani e quello delle teste.

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Madonna and Child with St. John and an Angel (Virgin of the Rocks)
1490-about-London National Gallery

The painting was the magazine ' wooden altarpiece commissioned by the Confraternity of the Immaculate Conception for their chapel in St. Francis in Milan. He stayed there until the eighties of settecento.Dopo some passages in the English collector, came to its present site in 1880. There is a very complex archival documents relating to this altarpiece . The figures of this painting are arranged in a pyramid scheme that finds its apex in the Virgin, settle on the first floor and take a large plastic relief

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emerging from the cavity Rocky remains boundless in fondo.Una cold light and relaxing like a lunar surface forms, giving the volume a group of figures statuary and solemn

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On the right-Detail design

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The work was completed only after 1506, the date of return of Leonardo in Lombardy, and that he would also sought the collaboration of Ambrogio de Predis . Ambrogio de Predis would then run one of the two panels with angel musicians flanking the Virgin of the Rocks, the one with the Angel in red, lute player, in which there can be no reflection of a Leonardo. The other table with the angel in green, viola player but is strongly geared to the language of Leonardo's, (some scholars linked to a student of master Francesco Napoletano).

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Madonna and Child with St. John and an Angel (Virgin of the Rocks ) Paris, Musée de Louvre .1483-1485-about

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The first documented presence in the French royal collections dating back to 1625, when Cassiano del Pozzo saw him in Fontanebleau in the gallery of pitture.Ancora was not clear how il dipinto giunse in Francia, tra le ipotesi più accreditate vi è quella che sia stato sequestrato dai francesi in seguito all'invasione di Milano ( dal sovrano Luigi XII nel 1499, oppure che sia stato donato da Ludovico il Moro all'imperatore Massimiliano in occasione del matrimonio con la nipote Bianca Maria Sforza nel 1493. Sembra comunque che si trovasse in Francia già nel secondo decennio del Cinquecento La vergine delle rocce francese è un'opera fortemente legata all'esperienza fiorentina di Leonardo. Il dipinto trae ispirazione dall'episodio, tramandato dai Vangeli apocrifi, secondo cui la sacra famiglia, durante la fuga in Egitto, avrebbe cercato rifugio in una grotta dove avrebbe ricevuto la visita di San Giovannino, rimasto orfano dopo the death of Elizabeth. Central is in fact the figure of French painting in St. John which converges on the participants' attention to the sacred scene: angel pointed out that the gaze to the viewer, is shown kneeling in adoration to the Virgin, which protects him accepting it in its mantle, an allusion to the frailty of the human race in need of divine protection In addition to the emphasis put on the figure of St. John the Baptist,

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the blade is in direct continuity with the experience gained over the years by Leonardo in Florence. You read it clearly adopted in the solution composition, with the figures, located on the diagonal, as suggested by the index pointed to by an angel and received within the space and nearly sucked damp cave and fascinating, filled with a crackling penumbra of light effects.

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Portrait of a Musician-1488-1490 Milan, Pinacoteca Ambrosiana

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It is believed that the painting has not been part of the core works donated in 1618 by Cardinal Federico Borromeo Ambrosiana, as it is registered for the first time only in 1671, by Agostino Santagostino which lists it as "portrait a doctor, "by Leonardo.Solo after the restoration carried out in 1905 by Louise Cavanagh, who has highlighted the detail of the hand with a scroll of music, hidden by a repainting. (painting held in partnership with Ambrogio de Predis) , which is unfinished in some parts of the body (for example, the coat has been left red in the preparation?, his face is revealed with plastic force decided by a dark background, with intense characterization and expression of the character portrayed. The missing painting by Leonardo da Vinci quell'astrattezza in the yield of the volume and the light that distinguishes the works of the master. There is instead a more natural way to describe the power structure of the face, the strong of acceptable anatomica, rivela la precisione degli studi scientifici condotti da Leonardo

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La Belle Ferronnière Leonardo da Vinci,
1490-1495 olio su tavola , 63 × 45 cm Parigi,
Musée du Louvre

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Nella Belle Ferronière, l'artista porta a pieno compimento quanto precedentemente sperimentato in campo ritrattistico, riuscendo a cogliere con grande naturalezza e apparente disinvoltura l'attimo in cui la figura femminile ruota la testa verso lo spettatore e volge quasi impercettibilmente lo sguardo alla sua sinistra, come attratta a voice-over, without giving his firm set in space. The absence of hands, hidden from the railing, leads to focus on the model's face and eyes, eye-catching with hypnotic force. The great charm of the painting is given to the masterful use of light, and the way to lighten the shadow of the neck with a glare of light that seems to emanate from the gilded parts of the series. the artist reveals a great skill, derived in part from studies conducted in those same years on optics and refraction of light in manuscript C of the Institut de France, dating from around 1490.

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La dama con l'ermellino Leonardo da Vinci,1488-1490 olio su tavola , 54,8 × 40,3 cm Cracovia, Czartoryski Muzeum

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Si ritiene che la dama qui ritratta sia identificata in Cecilia Gallerani, amante di Ludovico Sforza. Alla sua identità alluderebbe in chiave simbolica l'ermellino che tiene in grembo:riecheggia infatti il cognome della donna e la bestiola usata frequentemente come emblema di Ludovico. Grande evidenza è data all'ermellino nel dipinto, la sua perfetta conformazione cranica, la morbida consistenza della, pelliccia, il verso in cui è orientato pelo.Nessuno except for the Leonardo, would have known tredurre in visual terms the physical and instinctual predator dell'animaletto, so alert and ready to hunt their prey, even in its heraldic position sinuous dell'ermeldino enhances dignity, in the epigrammatic form ' entire composition.

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Last Supper by Leonardo da Vinci, 1495-1498 tempera and oil on plaster, 460 x 880 cm Milan, Church Santa Maria delle Grazie
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The tight control exercised by Ludovico Sforza in the nineties on the Dominican complex of Santa Maria delle Thanks to his will-where, since 1492, was begun the construction of a new stand, on a design by Bramante, for a ducal mausoleum where they buried the duke and his wife, and the presence of

ducal insignia del Moro in central lunette above the Last Supper (the lunettes were rediscovered only in 1854) make it very likely that the Board of Leonardo's great mural in the refectory, although not documented, had come Luovico from the Moor. A confirmation of this appears to come from a letter June 29, 1497 the Secretary Marchesino bar where the Moro calls to ask why Leonardo finisca l'opera del refettorio.

Molte sono le testimonianze del rapido degrado cui andò incontro il soggetto dipinto nei decenni immediatamente successivi alla sua realizzazione, in parte dovuto alla tecnica di Leonardo che anzichè adottare quella del -buon fresco- che necessitava di tempi di esecuzione più rapidi, preferi impiegare una tempera arricchita da velature ad olio

L'immagine del Cenacolo si presenta fortemente condizionata dai molti restauri cui l'opera è stata sottoposta ( almeno otto quelli documentati compreso l'ultimo durato oltre vent'anni a partire 1977 to 1999) and that have changed in the original part. Above the heads suffered heavy alterations in setting and intensity of expression. It is confirmed by comparison of the heads of the apostles paintings and drawings in pencil and color pencil-size in a few sheets stored in Strasbourg.

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In the large mural painted perspective construction, bare and austere continues and expands illusion architectural structures and real guide to the view that light you can see over the openings of the fund, designed in the light of the true function of the refectory windows, gives an incredible physical evidence to the characters and objects that make up the scene, which seems to unfold before the eyes of the beholder.

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St. Anne, the Virgin and Child
Leonardo da Vinci, c.
1508 oil on canvas, 168 × 112 cm
Paris, Louvre Museum .
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The painting, which remained unfinished in some parts-such esempio nel drappeggio che copre le gambe della Vergine- fu, con ogni probabilità, eseguito negli anni del secondo soggiorno milanese e portato da Leonardo con se in Francia, dove venne visto nel 1517 da Antonio de Beatis . Incerta è la vicenda successiva : forse acquistato dal re Francesco I.
In questo dipinto, Leonardo, finge un Cristo Bambino che, uscendo quasi dalle braccia della mamma prende un agnellino (animale immortalato) nella passione di Cristo.
la naturalezza delle figure, e la loro tenerissima dolcezza espressiva sono enfatizzate da un senso di morbido avvolgimento atmosferico: le figure immerse nell'aria luminosa circostante sembrano dissolversi in essa grazie anche alla gamma cromatica molto tenue che si accorda perfectly with the blue-gray tones of the backdrop
On the cardstock, Leonardo's studies for the Madonna and Child with a lamb (Venice Accademia Galleries).

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The Mona Lisa Leonardo da Vinci, 1503-1506
oil on panel, 77
× 53 cm Paris, Musée du Louvre

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La Gioconda or Mona Lisa came into the myth, since the mid-nineteenth century, as the embodiment of an ideal of female beauty that was accorded almost fetishistic admiration, and then become in the twentieth century the subject of fierce derision and outrageous distortions, La Gioconda is in many ways still shrouded in mystery. Contains no documentary confirmation, yet difficult to disprove, is the identifier of the character portrait of Lisa Gherardini, wife of the silk merchant Francesco del Giocondo.

unfinished and therefore not delivered to customers, the work remained with Leonardo, which probably brought it with him in France does not seem to be part of the nucleus of paintings (along with the Sant'Anna and San Giovanni Battista) after the master's death occurred in one 1519.non know if the Mona Lisa was returned or whether Milan sold by the master for a large sum of money pours treasurer of the king of France in 1517.


La Gioconda, then came to join in an unspecified time, the French royal collections and exposed to Fontainebleau, where he was much admired by Cassiano del Pozzo in 1625, then passed in the Galleries du Petit Roi at Versailles, where recorded in 1695 and was made visible to a wider public only after his entrance to the Louvre in 1797, which, however, was away for a few years at the beginning of the nineteenth century to be exhibited in the apartment of Josephine Bonaparte.

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Ginevra de 'Benci-1475-76-
Washington, National Gallery London

the late nineteenth century, Wilhelm von Bode was the first historian 'art to seriously examine the painting, then stored in the collection of the Prince of Liechtenstein, it was assumed that the almond tree, behind the lady, is allusive to the name of the person portrayed, it would be recognized in Ginevra de 'Benci, the daughter of a Florentine banker Ameringo John Benci, born in 1457 and had married at seventeen years of Louis Bernard Nicolini.

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Ritratto di Ginevra de' Benci
Washington-National Gallery
of art, verso.

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Il gineprio ritorna anche sul verso della tavola, intrecciato a un ramo di alloro e a una foglia di palma, dipinti su una finta superficie di porfido, attorno cui si srotola un cartiglio con l'iscrizione latina- virtutem forma decorat-, a significare che la bellezza della dama ne adorna la virtù.

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Vengono comunemente denominati Leonardeschi quei pittori lombardi, attivi tra il XV secolo and the beginning of XVI, in ways that were followers of the style of Leonardo da Vinci

News drawn from the book-and Leonardo Leonardi-Details and drawings of Leonardo-Scanzi-Paper-images from Google