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Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle. -
Leonardo3 the World of Leonardo
Leonardo3 – Il Mondo di Leonardo Sale del Re, Piazza della Scala Galleria Vittorio Emanuele II entrance Ends July 31, 2013 - Daily, 10am-11pm Leonardo3 The World of Leonardo An exhibit featuring brand-new discoveries and interactive experiences Milan, April 17, 2013. Leonardo3 – Il Mondo di Leonardo, an ex- hibit now open inside Milan’s prestigious Sale del Re in Piazza della Scala (entrance from the Galleria), has already sold over 40,000 tickets in its first 40 days. This is the most important interactive and interdisciplinary ex- hibit ever dedicated to artist and inventor Leonardo da Vinci and his ingenious machines. The show has been awarded a state prize by the President of Italy and is supported by the Municipality of Milan. THE EXHIBIT: PURPOSE AND PREMISE Countless exhibitions have been dedicated to Leonardo over the last ten years. While the artworks of this Renaissance genius have been the object of much attention, study and popularization, the same cannot be said for his manuscripts, which are decidedly more difficult to understand and appreciate. Leonardo left behind some 120 notebooks, many of which have been lost. Yet we still have around 5 thousand pages, most of which contain drawings that remain to be interpreted. This show presents the results of research carried out over the last ten years by Mario Taddei and Edoardo Zanon. Its purpose is to highlight Leonardo’s work not just as “artist” but also as “engi- neer” and help us understand what he wrote, what he designed, the studies he made for his machines, and how he worked. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3]. -
Viola Organista
Viola Organista Revolutionary Keyboard Instrument Invented by Leonardo da Vinci Implementation effort still being continued Akio Obuchi Keyboard Instruments • Piano, Celesta, Carillon – Hit with a hammer • Harpsichord, Spinet, Virginal – Pluck with a plectrum • Clavichord – Thrust (push) with a tangent • Organ, Harmonium, Melodeon – Blow or suck Festival della Scienza 2004 AO 2/36 Hit with hammer Celesta Piano Carillon Festival della Scienza 2004 AO 3/36 Pluck with plectrum Harpsichord Virginal Spinet Festival della Scienza 2004 AO 4/36 Thrust (push) with tangent Clavichord Festival della Scienza 2004 AO 5/36 Blow or Suck Organ Melodeon Harmonium Festival della Scienza 2004 AO 6/36 Limitation of Keyboard Instrument 1 • Sound only attenuates. (Piano, Harpsichord, Clavichord) Festival della Scienza 2004 AO 7/36 Limitation of Keyboard Instrument 2 • Sound continues, but no musical expression can be added. (Organ, Harmonium, Melodeon) Organ waveform Recorder waveform Festival della Scienza 2004 AO 8/36 Limitation of Keyboard Instrument 3 Frequency ratioonaLogscale. • Contradiction in Temperament 2 15/8 Equal temperament 5/3 3/2 : Scale based on natural harmonics 4/3 5/4 9/8 1 cdefgahc’ Festival della Scienza 2004 AO 9/36 Keyboard Instruments With most of the keyboard instruments, one can play a complex music like a symphony orchestra piece, with a limited ability of delicate expressions for each note. Festival della Scienza 2004 AO 10/36 Leonardo da Vinci might have already predicted potential limitations of keyboard instruments discussed in the previous pages and invented Viola Organista as an instrument which can overcome these restrictions, in >500 years ago !? Festival della Scienza 2004 AO 11/36 Variations of Viola Organista Geigenwerk Piano-Quatuor Streichklavier Festival della Scienza 2004 AO 12/36 Geigenwerk Hans Haiden 1600 Raymundo Truchado 1625 Festival della Scienza 2004 AO 13/36 Streichklavier Anonymous 1800? Courtesy of Carolyn W. -
Super-Brainiac Quiz Episode 9: Weird Instruments
Super-Brainiac Quiz Episode 9: Weird Instruments 1. Which inventor and artist designed the viola-organista? …………………….. 2. How is the spooky-sounding theremin played? (Circle the answer) a. by pressing its keys b. by waving your hand above it c. by shouting at it 3. What vegetable can be made into a recorder? ……….. 4. American musician John Cage wrote a piece consist- ing of 4 minutes and 33 seconds of what? ……………………… 5. In 1987, Cage wrote a piece called …………………………………………………….. 6. Leroy Anderson composed a piece of music to be played on what? ……………………. Super-Brainiac Quiz Episode 9: Weird Instruments 7. What tool did Giuseppe Verdi have the musicians play in his 1853 opera Il Trovatore? ………………………….. 8. Stockhausen’s wrote a string quartet for the musicians to play whilst flying in what? ……………………………………. 9. In what composition are real toys used as instruments? ……….…………………………………. 10. The earliest recording of what sound dates back to 1860? …………………… 11. The song Cantus Arcticus features the voices of ………………. 12. Benjamin Franklin built what beautiful instrument? ……………………………… Super-Brainiac Quiz ANSWER SHEET (no peeking!) 1. Which inventor and artist designed the viola-organista? Leonardo da Vinci 2. How is the spooky-sounding theremin played? b. by waving your hand above it 3. What vegetable can be made into a recorder? A carrot 4. American musician John Cage wrote a piece consist- ing of 4 minutes and 33 seconds of what? Silence 5. In 1987, Cage wrote a piece called… As Slow as Possible 6. Leroy Anderson composed a piece of music to be played on what? A typewriter 7. -
Alla Scoperta Di Leonardo Da Vinci
Scuola Primaria – classe quinta LABORATORIO DIDATTICO ALLA SCOPERTA DI LEONARDO DA VINCI Finalità del percorso Questo percorso nasce dalla volontà di promuovere e incrementare le abilità manuali e la creatività, nonché lo spirito d’inventiva attraverso la figura di Leonardo Da Vinci. DISCIPLINA: arte e immagine TRAGUARDI DI COMPETENZA: l’alunno utilizza le conoscenze e le abilità relative al linguaggio visivo per produrre varie tipologie di testi visivi (espressivi, narrativi, rappresentativi e comunicativi) e rielaborare in modo creativo le immagini con molteplici tecniche, materiali e strumenti (grafico-espressivi, pittorici, plastici); è in grado di osservare, esplorare, descrivere e leggere immagini (opere d’arte, fotografie, manifesti, fumetti). OBIETTIVI DI APPRENDIMENTO Esprimersi e comunicare: trasformare immagini e materiali ricercando soluzioni figurative originali; sperimentare strumenti e tecniche diverse per realizzare prodotti grafici, plastici, pittorici. Osservare e leggere le immagini: guardare e osservare con consapevolezza un’immagine e gli oggetti presenti nell’ambiente descrivendo gli elementi formali, utilizzando le regole della percezione visiva e l’orientamento nello spazio. 1 Comprendere e apprezzare le opere d’arte: individuare in un’opera d’arte, sia antica che moderna, elementi essenziali della forma, del linguaggio, della tecnica e dello stile dell’artista per comprenderne il messaggio e la funzione. DISCIPLINA: musica TRAGUARDO DI COMPETENZA: improvvisa liberamente e in modo creativo, imparando gradualmente -
Decoding the Last Supper
HOUSE OF TRUTH | TOTUUDEN TALO Decoding the Last Supper The Great Year and Men as Gods House of Truth | www.houseoftruth.education 21.6.2013 Table of Contents Introduction ....................................................................................................................................................... 2 The Last Supper and the Great Year .................................................................................................................. 3 36 engravings on the roof ............................................................................................................................. 4 Elements of the Last Supper .......................................................................................................................... 5 Hands of Christ .............................................................................................................................................. 6 The Lesser Conclusion ................................................................................................................................... 7 Men as Gods in the Last Supper ........................................................................................................................ 8 Roman trio of gods ........................................................................................................................................ 9 Evidence number 153 ................................................................................................................................. -
La “Viola Organista” Posterior Leonardo
La “viola organista” posterior Leonardo Fig 1 Praetorius “Sintagma Musicum” (1618.1619) Cap. XLIV, Geigenwerk o viola organista de Hans Hayden. Al igual que tantas otras de sus invenciones, la viola organista no llegó, como dijimos, seguramente nunca, a ser realizada por Leonardo, teniendo que intervenir el paso del tiempo para que la genial obra del gran precursor llegara a ser de evidente necesidad en el contexto de un natural progresivo devenir musical organológico. Algunos tratadistas datan y documentan erróneamente la construcción de instrumentos de esta índole por algunos autores en una época próxima a la muerte de Leonardo, basándose en los términos tasti o tastatura aplicados a unos instrumentos de arco, siendo que Leonardo había también llamado viola a tasti (CM Fol 76 r.) a su viola organista. Tal el caso de Lanfranco (15) quien, a propósito de la afinación de la viola de seis cuerdas, habla dei violoni da tasti et da arco; o de Ganassi (16) quien en el título de la primera pare de su "Regola rubertina", menciona la viola d'arco tastada y el violone d'arco da tasti en la segunda. El error estriba en que el término tasto, su plural tasti y el colectivo tastatura se aplicaban entonces indistintamente a las teclas y a los trastes de los instrumentos y que los autores precitados llamaban viole o violoni a tasti a los instrumentos de cuerda de estos nombres que tenían trastes en su díapasón. Caso distinto es el de Vicentino de Vicenza (17) quien en su obra L´antica musica ridotta alla moderna pratica (1555) habla de su arcicembalo que producía, al parecer, tres timbres distintos de imitación de instrumentos de arco, añadiendo más tarde una Descrizione dell´ arciorgano (1561), otro instrumento de su invención. -
Scuola Circle 芬奇与他的艺术群体
31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE 31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE A cura di | Curator | 展览策展人 Nicola Barbatelli 尼古拉·巴尔巴泰利 Nota introduttiva di | Introduced by | 序言 Giovanna Nepi Scirè 乔凡娜·内皮·希雷 LEONARDO LEONARDO E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE Palazzo Giustinian Lolin ospita fino al 25 agosto 2019 un importante tributo al genio Palazzo Giustinian Lolin hosts until 25 August 2019 an important tribute to the genius of di Leonardo Da Vinci, in occasione delle celebrazioni del cinquecentenario dalla Leonardo Da Vinci, on the occasion of the celebrations marking the 500th anniversary of scomparsa: la mostra “Leonardo e la sua grande scuola”, a cura di Nicola Barbatelli. Leonardo da Vinci’s death: the exhibition “Leonardo and His Outstanding Circle”, curated by Con 25 opere esposte – di cui due disegni attribuiti al genio toscano – il progetto pone Nicola Barbatelli. Proposing a collection of 25 works — among which two drawings attributed l’accento non solo sull’opera del grande Maestro, ma soprattutto sulle straordinarie to the Tuscan genius —, this project does not merely focus on the work of the great master, pitture dei suoi seguaci – tra cui Giampietrino, Marco d’Oggiono, Cesare da Sesto, but above all on the extraordinary paintings of his followers — including Giampietrino, Marco Salaì, Bernardino Luini – e il loro dialogo con la poetica artistica di Leonardo. d’Oggiono, Cesare da Sesto, Salaì, Bernardino Luini — and their dialogue with Leonardo’s artistic poetics. -
The Great Continuous Organ Brings Leonardo's Musical Gifts Back to Life
LEONARDO DA VINCI June 24, 2019 | Press Release AS NEVER SEEN BEFORE Leonardo3 – Il Mondo di Leonardo | Pag. 1/6 The Great Continuous Organ Milan, 24 June 2019 - “The wind will thus be continuous”, wrote Leonardo da Vinci in 1504 in his accompanying description for the drawings of one brings Leonardo’s of his greatest musical inventions: the Great Continuous Organ. On the occasion of the 500th anniversary of Leonardo’s death, this instrument has musical gifts been brought back to life thanks to the Leonardo3 Research Center in Milan. The instrument wasplayed for the first time in history at a back to life presentation co-organized by the City of Milan in the Palazzina Liberty Dario Fo e Franca Rame. Says Councilor for Culture Filippo Del Corno: The Leonardo3 Research Center “The quincentenary of Leonardo’s death has sparked a surprising energy in the has collaborated with the City of city involving public and private institutions, associations and companies in Milan to present one of Leonardo’s the creation of a constantly evolving events calendar. Leonardo3’s initiative most revolutionary musical falls precisely within this virtuous participatory context, reminding us for the very first time with this fascinating new project of the extraordinary creative heritage inventions our city received because Leonardo lived and worked here.” “It’s a historical event”, says Massimiliano Lisa, President of Leonardo3. The Great Continuous Organ is the latest to join the collection of A totally new and perfectly functioning model of the Great Continuous Leonardo’s musical instruments Organ has joined the collection of musical instruments created by on display at The World of the Universal Genius and displayed in the historic Sale del Re in Piazza della Scala (at the Galleria entrance) as part of the show Leonardo3 – Leonardo show in Piazza della The World of Leonardo. -
Information to Users
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Chiara Matteucci Department of Cultural Heritage – University of Bologna
Reflecting on fundamental issues of attributional method (Taking Leonardo da Vinci and his school as a paradigm) Chiara Matteucci Department of Cultural Heritage – University of Bologna Authentication in Art (AiA), Congress 11-13 May 2016 Nowadays diagnostic technologies have allowed to expant the number of characteristic properties detectable in a painting, such as the techniques used and the modus operandi of an artist, narrowing the field to those issues that are more difficult to fake. In this view, the diagnostic analyses for the attribution and authentication provide information, as obje ctive as possible, which, however, need a broader interpretation that integrate them in a historical context. In order to do so, it is also essential to keep an "ethos of transparence and verifiability [...] guaranteeing intersubjectivity of mutual communication"1. We should consider attributional studies as evolving as a construction/deconstruction process: experts should therefore be prepared to questioning their views, if new documents or material elements are discovered that raise doubts about their initial thesis2. In addition, the inevitable, but known and therefore graspable, "confirmation bias"3 should be taken into account, which, acting either in positive or negative ways, directs the subject engaged in connoisseurship towards the exclusive primary research of compatible elements or, on the contrary, the exclusive consideration of factors that are not congruent. As known, the current practice of attribution accepted both in the legal field and for commercial use is based on three key lines4: connoisseurship, or visual inspection by a knowing eye5, provenance studies and scientific investigations (Figure 1). The latter are currently used primarily as support for the expert's decision.