The Head of the Virgin in Three-Quarter View Facing Right

Last updated
The Head of the Virgin in Three-Quarter View Facing Right
The Head of the Virgin in Three-Quarter View Facing Right MET DP102382.jpg
Artist Leonardo da Vinci
YearBetween 1507 and 1513
Medium Pierre noir pencil, charcoal and red chalk, with some traces of white chalk on paper
SubjectStudy for The Virgin and Child with Saint Anne (Leonardo)
Dimensions20.3 cm× 15.6 cm(8.0 in× 6.1 in)
Location Metropolitan Museum of Art, New York
Accession51.90

The Head of the Virgin in Three-Quarter View Facing Right is a drawing on paper in pierre noir pencil and red chalk, attributed to the Florentine painter Leonardo da Vinci and kept at the Metropolitan Museum of Art in New York.

Contents

This drawing, whose dimensions have been reduced by the removal of certain existing parts at the time of its creation, is a portrait of a woman's head. It is a preparatory study for the head of the Virgin Mary in the painting The Virgin and Child with Saint Anne in the Musée du Louvre.

Probably executed between 1507 and 1513, it belongs to a series of studies largely dating from the beginning of the painting's creation in 1502-1503, each focusing on a particular detail. The braid motif is largely different, but can be found in the studio copies; researchers consider this work to be one of the arguments in favor of the theory that these copies are life-size prototypes of the painting in the Louvre.

All Leonardo da Vinci's skills as a draughtsman can be seen in this work, in particular his mastery of the use of graphic materials and the rendering of sfumato , resulting in a work of incomparable poetics and beauty.

Description

The Head of the Virgin in Three-Quarter View Facing Right was made on a rectangular sheet of paper measuring 20.3 × 15.6 cm. It seems that several years after its creation, it was amputated by wide strips on all four sides, as evidenced by copies made by followers, such as the one preserved in the Albertina Museum in Vienna (dated between 1508 and 1513 and measuring 22.7 × 26 cm): it thus shows the woman's neck and hair, which are absent from the drawing as it can be seen today. [1]

On a red chalk preparation, [2] the drawing is executed in pierre noire pencil, pastel and again in red chalk. There are a few traces of white chalk highlights. [3] In addition, there are some remnants of framing contours in the upper right, made with a pen and ink, which are not from the master's hand. [3] Finally, the top left-hand corner of the sheet bears an inscription that remains indecipherable to researchers. [1]

The drawing is a portrait of a young woman, with only her head visible. Tilted downwards, her face is seen in a three-quarter view on her right side. Her hair forms two braids held in place by a veil at the top of her head, while a lock hangs over her left cheek. [3]

History

The drawing was created as part of The Virgin and Child with Saint Anne (1503-1519, Musee du Louvre, ndeg inv. 776). Leonard de Vinci, sainte Anne, Louvre.jpg
The drawing was created as part of The Virgin and Child with Saint Anne (1503–1519, Musée du Louvre, n° inv. 776).

Leonardo da Vinci was over fifty-five years old [4] when he created the drawing of The Head of the Virgin in Three-Quarter View Facing Right in the years 1508-1510. In 1508, he began what is known as his "second Milanese period", which lasted until September 1513. [5] He was already famous enough for powerful Italian and other European patrons to compete for his services as engineer and artist: first Isabella d'Este and Cesare Borgia at the very beginning of the century, [6] then King Louis XII of France and his subordinates, such as his Secretary of State Florimond Robertet and the governor he had sent to Milan, Charles d'Amboise. [7] Vinci, who had fled from the French during the invasion of the Duchy of Milan in 1499, finally entered the service of King Louis XII in 1507. [8]

Despite his self-declared distancing from painting, Leonardo nevertheless produced several works during this period: Salvator Mundi (after 1507), La Scapigliata (1508), Leda and the Swan (1508) and Bacchus (1510-1515). [9] In addition, he had been working on a " Virgin and Child with Saint Anne " for several years, although it is not yet clear who commissioned it: the work now in the Louvre, begun in 1502-1503, was certainly still in draft form around 1507-1508, [5] especially as the painter most likely abandoned it between 1504 and 1507. [10]

Two types of study are directly related to this painting: those that enabled the creation of the painting board, [11] and those that constituted "the final changes decided by the master" and are therefore the furthest removed in time from it. [10] With its characteristic "highly complex and original technique", The Head of the Virgin in Three-Quarter View Facing Right belongs firmly in this second group. [5] By this time, the painting was sufficiently advanced that it was no longer possible for Leonardo to modify the overall composition. His task was therefore to execute and perfect the details, including the hairstyles of the protagonists: he executed a dozen studies aimed at refining the initial drawing, including the study of The Head of the Virgin in Three-Quarter View Facing Right. [5]

The creation of this study is relatively late compared to the start of the painting's production, which dates back to 1503. Vincent Delieuvin puts it at "circa 1507-1510", [1] Sarah Taglialagamba and Carlo Pedretti at "circa 1510", [12] while Carmen C. Bambach and the owner's museum website put it at "1510-13". [3]

Other preparatory drawings for The Virgin and Child with Saint Anne and contemporary with he Head of the Virgin in Three-Quarter View Facing Right.

Allocation

Detail of the right cheekbone (digitally reworked image): fine red chalk crosshatching typical of a left-handed person is visible. Tete de la Vierge de trois quarts a droite, detail sur la pommette droite (image retravaillee numeriquement).png
Detail of the right cheekbone (digitally reworked image): fine red chalk crosshatching typical of a left-handed person is visible.

Although the attribution of this work to Leonardo da Vinci had already been envisaged, it was hotly debated within the scientific community before the beginning of the 21st century. In particular, it was the work's overly perfect character that embarrassed many researchers, as Carmen C. Bambach put it. Bambach puts it this way: "its magical beauty makes it suspect". [3] In 1966, German art historian Walter Vitzthum wrote that "the drawing is more reminiscent of Walter Pater's mind than of Leonardo's hand". [13]

Nevertheless, new elements began to emerge at the beginning of the 21st century. By simply observing the work with the naked eye, Carmen C. In April 2002, Carmen C. Bambach discovered parallel crosshatching specific to a left-handed hand, particularly in the region of the right cheek, near the nose – a finding confirmed by photomicrographic analysis. Moreover, she considered that previous research had been unable to arrive at these observations because scientists had hitherto studied the work only through photographic snapshots, which therefore failed to capture the subtlety of the artist's work. [14] Moreover, in 2005, a ".T." traced in grey-brown ink was discovered on the back of the sheet. This was the mark used on drawings and manuscripts by Leonardo da Vinci that belonged to the Melzi-Leoni collection. [3] [note 1]

Leonardo da Vinci, Recto Study for the Head of a Soldier in the Battle of Anghiari, 1504-1505, Budapest, Museum of Fine Arts, no. inv. 1775. Leonardo da Vinci - Study of Two Warriors' Heads for the Battle of Anghiari - Google Art Project.jpg
Leonardo da Vinci, Recto Study for the Head of a Soldier in the Battle of Anghiari , 1504–1505, Budapest, Museum of Fine Arts, no. inv. 1775.

This discovery therefore endorsed the hypothesis of attribution to Leonardo da Vinci. The stylistic and technical arguments put forward by the proponents of this hypothesis were further strengthened: firstly, the technique deployed here is similar to the Recto Study for the Head of a Soldier in the Battle of Anghiari , which is contemporary with the work (1504–1505) [3] and has an identical preparation in red chalk. [2] Furthermore, it appeared that the work represented a condensation of the painter's research into optical phenomena, resulting in a very homogeneous and fluid sfumato. [15]

Since then, most art historians agreed that The Head of the Virgin in Three-Quarter View Facing Right was by Leonardo da Vinci: Carlo Pedretti, and following him, Sarah Taglialagamba, [12] Carmen C. Bambach, Pietro C. Bambach, Pietro C. Marani [3] and Vincent Delieuvin. [1] Nevertheless, some still questioned its authenticity, such as Frank Zöllner, who expressed his skepticism by not mentioning it in his catalogs raisonnés of the painter's painted and graphic works. [16] Last but not least, the work features a number of interventions that scientific analysis indicates are not autograph: pen-and-ink retouches, [3] as well as slight restoration attempts that explain some of the darker passages in the right cheek, nose and lips. [2]

Path of the artwork

It is only in recent times that it has been possible to trace the work's development after its creation. Listed in the drawing collection of Charles Greville (1763-1832), it was inherited by his nephew, the 4th Earl of Warwick George Guy Greville (1818–1893). It was subsequently sold at Christie's in London on May 20 and 21, 1896, and acquired by the chemist and art collector Ludwig Mond (1839-1909), also in London. It passed into the possession of Lady Gwen Melchett of Landford, then into her family, where it remained until its acquisition by the Metropolitan Museum of Art in New York in 1951 at the Sotheby's sale of May 23-24, 1951. [1] [3]

A study for The Virgin and Child with Saint Anne

Being unanimously recognized as a study for the work mentioned above, this particular study focuses on the arrangement of the hairstyle: in fact, at this level, the drawing shows a superimposition of strokes, corresponding to so many propositions that make the drawing somewhat nebulous. However, this arrangement is not to be found in the cardboard used to create the painting in the Louvre, [note 2] nor in the painting itself, but in several studio versions, which thus acquired the status of life-size, painted prototypes of The Virgin and Child with Saint Anne : it would therefore seem that the study represented a reflection begun after the creation of the cardboard. It is situated during the production of the painting, [1] when the artist – who could no longer modify the overall composition, which was then too far advanced – was in a phase of research, maturation and refinement of the details (draperies, hairstyles and gestures of the protagonists). [5]

Analysis

An unrivalled technique

Eye detail: red chalk and pierre noire pencil blended harmoniously. Tete de la Vierge de trois quarts a droite, detail sur l'oeil.png
Eye detail: red chalk and pierre noire pencil blended harmoniously.

This particular study differs from the master's previous head studies "in that it is more painterly and more natural": [1] the painter used an incomparable technique to achieve a remarkable poetics and beauty that his followers were unable to achieve. [2]

Materials

To create a work with a very fine, soft play of light, Leonardo da Vinci first produced a preparation by blurring with red chalk. [2] He then drew the contours of his face in grey-tone pierre noire pencil, followed by red chalk strokes: [1] this is particularly visible on the eyelid and tear duct. [18] Darker pierre noire pencil was used to animate the veil and hair. [1] The artist then created the shading "with an admirable fusion of faded pierre noire pencil and fine parallel red strokes, creating very subtle transitions of light". [1] This complementarity of the two chalks is one of the first examples of the "twin chalk technique", [2] which would be adopted by Mannerist painters two generations later. Finally, the work was enhanced by white highlights visible in the bright areas of the bridge of the nose and around the right eye. [1] Conversely, the reflections in the eye were the result of a reserve of material on the paper. [18]

The art of sfumato

A close-up of the cheek reveals the sfumato effects (detail). The Head of the Virgin in Three-Quarter View Facing Right MET DP102385.jpg
A close-up of the cheek reveals the sfumato effects (detail).

The artist's use of sfumato is characteristic of his work: it is a pictorial technique that he theorizes in his writings:

Make sure your light and shadow blend together like smoke, without lines or dashes. [19] [3]

This technique consisted in creating the illusion of atmospheric dissolution of relief forms through the use of hatching and the blurring of all the drawing's strokes, thus unifying and fluidifying the transitions of light and shadow. [1] [3]

Although the technique was also used on the hair, it is particularly evident on the face, where streaks and blurs are combined with red chalk and pierre noire pencil. [15] Paradoxically, the sfumato is so well mastered that it constituted a hindrance to an analysis of the drawing's constituent features, and thus to a definite attribution to Leonardo da Vinci. [2]

Posterity

Follower of Leonardo da Vinci, The Virgin and Child with Saint Anne, circa 1514-1515, Florence, Uffizi Gallery, ndeg. inv. 1890, n. 737. Francesco Melzi - St Anne with the Virgin and the Child Embracing a Lamb - WGA14796FXD.jpg
Follower of Leonardo da Vinci, The Virgin and Child with Saint Anne, circa 1514-1515, Florence, Uffizi Gallery, n°. inv. 1890, n. 737.


The drawing of The Head of the Virgin in Three-Quarter View Facing Right is a study for a painting. However, it is less in  The Virgin and Child with Saint Anne than in studio copies of the master's composition that it is found, as indicated by the arrangement of the coiffure - i.e. the braid and veils covering it - absent from the painting preserved in the Louvre. This hairstyle can be found, for example, in a copy dated 1514-1515 and housed in the Uffizi Gallery in Florence.

Follower of Leonardo da Vinci (could possibly be Salai), Head of the Virgin, between 1508 and 1513, Vienna (Austria), Albertina Museum, inv. ndeg 17613. D'apre Leonard de Vinci, Tete de la Vierge, vers 1508-1513.jpg
Follower of Leonardo da Vinci (could possibly be Salai), Head of the Virgin, between 1508 and 1513, Vienna (Austria), Albertina Museum, inv. n° 17613.


The drawing was the subject of copies by followers, including one in particular that was sometimes even attributed to the master, and in any case was contemporary with him. This drawing is now attributed to Salai with great reservations. Its interest lies in the fact that it has a larger format than the original, leading researchers to believe that it corresponded to the latter's original format. [1]

Similarly, a copy also contemporary with the great painter is currently preserved in Milan, in the Ambrosian Library (under inv. f 263 inf. n. 76): it is not an exact copy, particularly in the arrangement of the braid, thus confirming the difficulty of reading the original drawing, the result of successive additions of strokes by Leonardo da Vinci. It is the red-on-red technique, in particular, that prompts researchers to attribute the drawing to the circle of the painter's immediate followers. [20]

The drawing continued to inspire artists centuries later, such as Odilon Redon, an avowed admirer of the Florentine genius, who produced a copy around 1867-1868. But he did so from a photo of the drawing in the Albertina Museum - hence the corresponding format. [21] A few years later, around 1914, he used the motif in his painting Hommage à Léonard de Vinci: "Here, the Virgin has been interpreted as a figure presiding over a rebirth of nature, a pantheism. Leonardo, who has always been a source of inspiration for Redon, is the artist who, having immersed himself in the mystery of nature, was able to reproduce its harmony". [22]

Notes

  1. ↑ This is the collection of drawings inherited by Francesco Melzi on the painter's death and then, after a period of dispersal, largely brought together by Pompeo Leoni. (Galluzzi, Paolo (2019). "Les fabuleuses tribulations des manuscrits de Léonard". UNESCO (in French).)
  2. ↑ The master's original canvas, which served as the basis for the painting, is considered to have been lost, but a copy of this canvas, known as the "cartonResta-Esterazy" and bearing witness to its condition, remained visible until World War II. [17]

Related Research Articles

<span class="mw-page-title-main">Leonardo da Vinci</span> Italian Renaissance polymath (1452–1519)

Leonardo di ser Piero da Vinci was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. While his fame initially rested on his achievements as a painter, he has also become known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo is widely regarded to have been a genius who epitomized the Renaissance humanist ideal, and his collective works comprise a contribution to later generations of artists matched only by that of his younger contemporary Michelangelo.

<i>Vitruvian Man</i> Drawing by Leonardo da Vinci, c. 1490

The Vitruvian Man is a drawing by the Italian Renaissance artist and scientist Leonardo da Vinci, dated to c. 1490. Inspired by the writings of the ancient Roman architect Vitruvius, the drawing depicts a nude man in two superimposed positions with his arms and legs apart and inscribed in both a circle and square. It was described by the art historian Carmen C. Bambach as "justly ranked among the all-time iconic images of Western civilization". Although not the only known drawing of a man inspired by the writings of Vitruvius, the work is a unique synthesis of artistic and scientific ideals and often considered an archetypal representation of the High Renaissance.

<i>Virgin of the Rocks</i> Two paintings by Leonardo da Vinci

The Virgin of the Rocks, sometimes the Madonna of the Rocks, is the name of two paintings by the Italian Renaissance artist Leonardo da Vinci, of the same subject, with a composition which is identical except for several significant details. The version generally considered the prime version, the earlier of the two, is unrestored and hangs in the Louvre in Paris. The other, which was restored between 2008 and 2010, hangs in the National Gallery, London. The works are often known as the Louvre Virgin of the Rocks and London Virgin of the Rocks respectively. The paintings are both nearly 2 metres high and are painted in oils. Both were originally painted on wooden panels, but the Louvre version has been transferred to canvas.

<i>The Virgin and Child with Saint Anne</i> (Leonardo) Unfinished painting by Leonardo da Vinci

The Virgin and Child with Saint Anne is an unfinished oil painting by High Renaissance artist Leonardo da Vinci, dated to c. 1501–1519. It depicts Saint Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo.

Andrea Solari (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.

<i>Madonna Litta</i> Painting attributed to Leonardo da Vinci

The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.

<i>Portrait of a Musician</i> Unfinished painting by Leonardo da Vinci (1483–1487)

The Portrait of a Musician is an unfinished painting widely attributed to the Italian Renaissance artist Leonardo da Vinci, dated to c. 1483–1487. Produced while Leonardo was in Milan, the work is painted in oils, and perhaps tempera, on a small panel of walnut wood. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars.

<i>The Virgin and Child with Saint Anne and Saint John the Baptist</i> Cartoon by Leonardo da Vinci

The Virgin and Child with Saint Anne and Saint John the Baptist, sometimes called The Burlington House Cartoon, is a drawing by Leonardo da Vinci. The drawing is in charcoal and black and white chalk, on eight sheets of paper that are glued together. Because of its large size and format the drawing is presumed to be a cartoon for a painting. No painting by Leonardo exists that is based directly on this cartoon, although the drawing may have been in preparation for a now lost or unexecuted painting commissioned by Louis XII. The drawing is the only extant larger-scale drawing by the artist.

<i>Bacchus</i> (Leonardo) Painting attributed to Leonardo da Vinci

Bacchus, originally Saint John the Baptist, is a painting in the Musée du Louvre, Paris, France, based on a drawing by the Italian Renaissance artist Leonardo da Vinci. It is now attributed to Francesco Melzi, while in Leonardo's workshop. Sydney J. Freedberg assigns the drawing to Leonardo's second Milan period. Among the Lombard painters who have been suggested as possible authors are Cesare da Sesto, Marco d'Oggiono, Francesco Melzi, and Cesare Bernazzano. The painting shows a male figure with garlanded head and leopard skin, seated in an idyllic landscape. He points with his right hand off to his left, and with his left hand grasps his thyrsus and also points down to earth.

<span class="mw-page-title-main">Giovanni Antonio Boltraffio</span> Italian painter (1467–1516)

Giovanni Antonio Boltraffio was an Italian painter of the High Renaissance from Lombardy, who worked in the studio of Leonardo da Vinci. Boltraffio and Bernardino Luini are the strongest artistic personalities to emerge from Leonardo's studio. According to Giorgio Vasari, he was of an aristocratic family and was born in Milan.

<i>Leda and the Swan</i> (Leonardo) Lost paintings by Leonardo da Vinci

The story of Leda and the Swan was the subject of two compositions by Leonardo da Vinci from perhaps 1503–1510. Neither survive as paintings by Leonardo, but there are a number of drawings for both by him, and copies in oils, especially of the second composition, where Leda stands.

<span class="mw-page-title-main">Bartolomeo Veneto</span> Italian painter (active 1502–1531)

Bartolomeo Veneto was an Italian painter who worked in Venice, the Veneto, and Lombardy. During his time in Venice, he studied under Gentile Bellini. The little information available about Bartolomeo's life has been derived from his signatures, dates, and inscriptions. His best-known works are portraits or pictures with portrait-like character. Bartolomeo's later works, and especially those done on commission in Milan, indicate an influence from the artist Leonardo da Vinci.

<i>La Scapigliata</i> Painting by Leonardo da Vinci

La Scapigliata is an unfinished painting generally attributed to the Italian High Renaissance artist Leonardo da Vinci, and dated c. 1506–1508. Painted in oil, umber, and white lead pigments on a small poplar wood panel, its attribution remains controversial, with several experts attributing the work to a pupil of Leonardo. The painting has been admired for its captivating beauty, mysterious demeanor, and mastery of sfumato.

<i>Salvator Mundi</i> (Leonardo) Painting attributed in whole or part to Leonardo da Vinci

Salvator Mundi is a painting attributed in whole or in part to the Italian High Renaissance artist Leonardo da Vinci, dated to c. 1499–1510. Long thought to be a copy of a lost original veiled with overpainting, it was rediscovered, restored, and included in a major exhibition of Leonardo's work at the National Gallery, London, in 2011–2012. Auction house Christie's stated just after selling the work in 2017 that most leading scholars consider it to be an original work by Leonardo, but this attribution has been disputed by other leading specialists, some of whom propose that he only contributed certain elements; and others who believe that the extensive damage prevents a definitive attribution.

<i>Study for the Madonna of the Cat</i> Drawing by Leonardo da Vinci

Study for the Madonna of the Cat is a set of two drawings by Leonardo da Vinci on both sides of a sheet of paper 13 centimeters high and 9.4 centimeters wide. The two drawings were made in pen and brown ink, on a preparatory drawing in stylus, with a brown wash on the back. This is one of the six works of Leonardo da Vinci showing the Virgin and Child playing with a cat or carrying it. A mirror symmetry between the drawings of the two faces is visible by transparency. The Study for the Madonna of the Cat is currently held at the British Museum in London under inventory number 1856,0621.1. The creative and scientific processes underlying the drawing Madonna of the Cat have been discussed by many art historians, including Kenneth Clark, Martin Kemp, Carmen Bambach and Larry Feinberg.

Vincent Delieuvin is a French author and art historian specializing in the work of Leonardo da Vinci, and in Italian paintings of the sixteenth century, generally. Since 2006, he has worked as a heritage curator at the Louvre museum.

<i>Studies of an Infant</i> Leonardo da Vinci drawing

Studies of an Infant is a set of eight red chalk drawings on red ochre-prepared paper by Leonardo da Vinci, housed in the Gallerie dell'Accademia in Venice. These are representations of all or part of the body of a very young child, considered to be preparatory studies for the Infant Jesus in the oil painting The Virgin and Child with Saint Anne in the Louvre.

<i>The Virgin and Child with Saint Anne</i> (cartoon) Lost drawing by Leonardo da Vinci

The Virgin and Child with Saint Anne is a cartoon said to have been created by Leonardo da Vinci as part of his "Virgin and Child with Saint Anne" project, and now considered lost. It is known from a letter written on April 3, 1501, by Fra Pietro Novellara, Isabella d'Este's envoy to the painter. For this reason, it is sometimes referred to as "Fra Pietro's cartoon". Although still hypothetical, its existence seems to be confirmed by paintings by Raffaello and Andrea del Brescianino that are said to have been made from it, as well as by various pencil studies.

<i>Angel musicians</i> (National Gallery) Panels for the Virgin of the Rocks

The Angel musicians are two paintings created in the late 15th century to frame Leonardo da Vinci's Virgin of the Rocks. Their purpose was to decorate the side panels of the Altarpiece in the Chapel of the Immaculate Conception, created to decorate a chapel in the Church of San Francesco Grande in Milan. Separated from their original altarpiece at the very end of the 18th century, they have been in the National Gallery in London since 1898.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 Delieuvin et al. 2012, p. 133, catalogue.
  2. 1 2 3 4 5 6 7 Bambach et al. 2003, p. 569, « Entries », cat.108.
  3. 1 2 3 4 5 6 7 8 9 10 11 12 Bambach n.d.
  4. ↑ Bramly 2019, p. 505.
  5. 1 2 3 4 5 Delieuvin et al. 2019, p. 284, catalogue.
  6. ↑ Bramly 2019, pp. 449, 482.
  7. ↑ Bramly 2019, pp. 507, 510.
  8. ↑ Bramly 2019, p. 510.
  9. ↑ Zöllner, Frank; da Vinci, Leonardo (August 8, 2017). Léonard de Vinci, 1452-1519: tout l'œuvre peint. Bibliotheca Universalis (in French). Cologne: Taschen. ISBN   978-3-8365-6296-6..
  10. 1 2 Delieuvin et al. 2012, p. 131, catalogue.
  11. ↑ Delieuvin et al. 2019, p. 282, catalogue.
  12. 1 2 Pedretti & Taglialagamba 2017, p. 128.
  13. ↑ Walter Vitzthum quoted in Bambach (n.d.).
  14. ↑ Bambach et al. 2014, p. 249.
  15. 1 2 Bambach et al. 2003, p. 566, « Entries », cat.108.
  16. ↑ Nathan, Johannes; Zöllner, Frank (November 6, 2014). Léonard de Vinci, 1452-1519: l'œuvre graphique. Bibliotheca universalis (in French). Translated by Wolf Fruhtrunk. Cologne, Paris: Taschen. ISBN   978-3-8365-5440-4..
  17. ↑ Delieuvin et al. 2012, p. 100, catalogue
  18. 1 2 Bambach et al. 2014, p. 250.
  19. ↑ che le tue o [m] bre e lumi sieno uniti sa [n] za tratti o segni, a uso di fumo in Libro di Pittura in the manuscript of A, Paris, fol. 107 verse (BN 2038, fol. 27 verse dating from 1490-92, see in da Vinci, Leonardo (1942). "Préceptes du peintre". Les carnets de Léonard de Vinci. Bibliotheca Universalis (in French). Vol. 2. Translated by Servicen, Louise. Paris: Éditions Gallimard. pp. 259–260. ISBN   978-3-8365-6296-6.
  20. ↑ Delieuvin et al. 2012, p. 136, catalogue.
  21. ↑ Delieuvin et al. 2012, p. 354-355, catalogue.
  22. ↑ Claudio Gulli in Delieuvin et al. (2012 , p. 356)

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.