The Holy Infants Embracing is a painting by Leonardo da Vinci. It represents the infant Christ embracing his cousin John the Baptist. The subject matter relates to the two paintings of the Virgin of the Rocks by Leonardo and numerous other Renaissance works by Raphael and others of the meeting of the two children on the road to Egypt while escaping the Massacre of the Innocents.
The subject of two Infants kissing was an inspirational source of quite a few (about thirty) copies of pupils and followers of Leonardo da Vinci. An early sketch of the subject by Leonardo himself is held at Windsor in the Royal collection. [1] The sheet shows various studies of Madonna and Baby playing with the cat, while at the very bottom we see two infants kissing and embracing each other. The sketch is quite different from the version presented at numerous compositions, while the baby on the right is shown in a very same pose as Jesus in Virgin of the Rocks.
The connection between those paintings is evident in two copies made by Marco d'Oggiono (one of them - the Thuelin Madonna) and copy made by Bernardino dei Conti (lost during World War II). Madonna, very much like as the one depicted in Virgin of the Rocks is seen blessing two kissing children, representing Jesus and St John the Baptist. Other copies show half-length figure of Madonna leaning over the table with figures of embracing children (like copy by school of Leonardo da Vinci held at Burchill Collection, Milan, and a copy ascribed either to Marco d'Oggiono or Giampietrino). The painting of Holy Family (including holy infants embracing) by Bernardino Luini held at Prado, Madrid shows a similar representation. Most of the copies show only the group of two children in a quite different background. These include copies by Marco d'Oggiono, depicting holy children in a background of castle (Milan), grotto, rocky landscape (Windsor collection). The subject of two children kissing was repeated many times by another Leonardo follower, Joos van Cleve, who was called Leonardo des Nordens or "Leonardo of the North":
He often produced almost identical paintings of the subject: like three paintings held respectively at Museo Musei vicino Matteo Lampertico Arte antica e moderna, Milan; private collection, Switzerland and private collection in USA (showing a very similar background to the Windsor version; also in Royal collection, Brussels, The Art Institute of Chicago and Mauritshuis collection, Hague. Other copies by artist are held also at Naples and Vienna, sold at various auction houses recently. Joos van Cleve is responsible for introducing the composition among artists of Northern Europe, while numerous copies today are ascribed to the followers of Joos van Cleve. A 2006 Discovery Channel co-produced documentary called "Da Vinci's Lost Code" attempted to authenticate the provenance of the "Lost Babies" painting, whose owner believed it to be painted by Leonardo.
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.
Bernardino Luini was a north Italian painter from Leonardo's circle during the High Renaissance. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described as having taken "as much from Leonardo as his native roots enabled him to comprehend". Consequently, many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.
The Madonna Litta is a late 15th-century painting, by 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.
The Holy Family consists of the Child Jesus, the Virgin Mary and Saint Joseph. The subject became popular in art from the 1490s on, but veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a confraternity.
Leonardo da Vinci was an Italian Renaissance painter and polymath who achieved legendary fame and iconic status within his own lifetime. His renown primarily rests upon his brilliant achievements as a painter, the Mona Lisa and The Last Supper, being two of the most famous artworks ever created, but also upon his diverse skills as a scientist and inventor. He became so highly valued during his lifetime that the King of France bore him home like a trophy of war, supported him in his old age and, according to legend, cradled his head as he died.
Bacchus, originally Saint John the Baptist, is a painting in the Musée du Louvre, Paris, France, by the Italian Renaissance artist Leonardo da Vinci and 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.
The Madonna of the Yarnwinder is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition, suggesting that both evolved concurrently in Leonardo's workshop.
Joos van Cleve was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting, he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles.
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.
Giampietrino, probably Giovanni Pietro Rizzoli, was a north Italian painter of the Lombard school and Leonardo's circle, succinctly characterized by S. J. Freedberg as an "exploiter of Leonardo's repertory."
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.
Cornelis van Cleve, Cornelis van Cleef or Cornelis van der Beke, nickname Sotte Cleve was a Flemish Renaissance painter active in Antwerp who is known for his religious compositions and portraits. Starting his career in Antwerp in the workshop of his father Joos van Cleve, he later worked for a while in London. When he failed to achieve success in England, he became insane and stopped painting.
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.
The Leonardeschi were the large group of artists who worked in the studio of, or under the influence of, Leonardo da Vinci. They were artists of Italian Renaissance painting, although his influence extended to many countries within Europe.
The Madonna and Child with the Infant Saint John the Baptist is a lost composition by Leonardo da Vinci. The composition is known through a handful of paintings attributed to artists in Leonardo's circle. An original underdrawing by Leonardo may be preserved in a version in a private collection in Moscow, Russia.
The Bridgewater Madonna is a religious painting by Raphael, dated 1507. Originally on oil and wood, but later transferred to canvas, it measures 81 by 55 cm. The picture is part of the permanent collection of the Scottish National Gallery in Edinburgh, on loan from the Duke of Sutherland Collection.
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.
The Tête d'enfant de trois quarts à droite is a silverpoint drawing on paper by the Florentine painter Leonardo da Vinci. It belongs to the Codex Vallardi and is preserved at the Department of Graphic Arts of the Louvre Museum in Paris.
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