Salvator Mundi Steven J. Frank ([email protected])
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Catalogo Leonardo
LEONARDO DA VINCI OIL PAINTING REPRODUCTION ARTI FIORENTINE FIRENZE ITALY There is no artist more legendary than Leonardo. In the whole History of Art, no other name has created more discussions, debates and studies than the genius born in Vinci in 1452. Self-Portrait, 1515 Red Chalk on paper 33.3 x 21.6 cm. Biblioteca Reale Torino As far as we know, this extraordinary dra- wing is the only surviving self-portrait by the master. The Annunciation, 1474 tempera on panel 98 X 217 cm. Galleria degli Uffizi THE BATTLE OF ANGHIARI The Battle of Anghiari is a lost painting by Leonardo da Vinci. This is the finest known copy of Leonardo’s lost Battle of Anghiari fresco. It was made in the mid-16th century and then extended at the edges in the early 17th century by Rubens. The Benois Madonna, 1478 Oil on canvas 49.5x33 cm Hermitage Museum Originally painted on wood, It was transferred to canvas when It entered the Hermitage, during which time it was severely demaged GOLD LEAF FRAME DETAIL Woman Head, 1470-76 La Scapigliata, 1508 Paper 28 x 20 cm Oil on canvas 24.7 x 21 cm Galleria degli Uffizi Firenze Parma Galleria Nazionale Lady with an ermine, 1489-90 Oil on wood panel 54 x 39 cm Czartoryski Museum The subject of the portrait is identified as Cecilia Gallerani and was probably painted at a time when she was the mi- stress of Lodovico Sforza, Duke of Milan, and Leonardo was in the service of the Duke. Carved gold frame Ritratto di una sforza, 1495 Uomo vitruviano, 1490 Gesso e inchistro su pergamena Matita e inchiostro su carta 34x24 cm. -
3 LEONARDO Di Strinati Tancredi ING.Key
THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals. -
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. -
Andrea Solari Oil Paintings
Andrea Solari Oil Paintings Andrea Solari [Italian Renaissance painter, 1460-1524] Charles d'Amboise canvas painting, 48244-Solari, Andrea-Charles d'Amboise.jpg Oil Painting ID: 48244 | Order the painting Ecce Homo canvas painting, 48245-Solari, Andrea-Ecce Homo.jpg Oil Painting ID: 48245 | Order the painting Man with a Pink Carnation canvas painting, 48246-Solari, Andrea-Man with a Pink Carnation.jpg Oil Painting ID: 48246 | Order the painting Portrait of a Man canvas painting, 48247-Solari, Andrea-Portrait of a Man.jpg Oil Painting ID: 48247 | Order the painting The Lute Player canvas painting, 48248-Solari, Andrea-The Lute Player.jpg Oil Painting ID: 48248 | Order the painting 1/2 Virgin of the Green Cushion canvas painting, 48249-Solari, Andrea-Virgin of the Green Cushion.jpg Oil Painting ID: 48249 | Order the painting Total 1 page, [1] Solari, Andrea (Nationality : Italian Renaissance painter, 1460-1524) Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. Initially named Andre del Gobbo, he was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training. His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre (illustrated here). • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. -
The Pear-Shaped Salvator Mundi Things Have Gone Very Badly Pear-Shaped for the Louvre Abu Dhabi Salvator Mundi
AiA Art News-service The pear-shaped Salvator Mundi Things have gone very badly pear-shaped for the Louvre Abu Dhabi Salvator Mundi. It took thirteen years to discover from whom and where the now much-restored painting had been bought in 2005. And it has now taken a full year for admission to emerge that the most expensive painting in the world dare not show its face; that this painting has been in hiding since sold at Christie’s, New York, on 15 November 2017 for $450 million. Further, key supporters of the picture are now falling out and moves may be afoot to condemn the restoration in order to protect the controversial Leonardo ascription. Above, Fig. 1: the Salvator Mundi in 2008 when part-restored and about to be taken by one of the dealer-owners, Robert Simon (featured) to the National Gallery, London, for a confidential viewing by a select group of Leonardo experts. Above, Fig. 2: The Salvator Mundi, as it appeared when sold at Christie’s, New York, on 15 November 2017. THE SECOND SALVATOR MUNDI MYSTERY The New York arts blogger Lee Rosenbaum (aka CultureGrrl) has performed great service by “Joining the many reporters who have tried to learn about the painting’s current status”. Rosenbaum lodged a pile of awkwardly direct inquiries; gained a remarkably frank and detailed response from the Salvator Mundi’s restorer, Dianne Dwyer Modestini; and drew a thunderous collection of non-disclosures from everyone else. A full year after the most expensive painting in the world was sold, no one will say where it has been/is or when, if ever, it might next be seen. -
Leonardo in Verrocchio's Workshop
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p. -
Meet the Masters February Program Grade 3 How Artists Portray Women
Meet the Masters February Program Grade 3 How Artists Portray Women Mary Cassatt "The Child's Bath" Leonardo Da Vinci "Ginevra De' Bend" About the Artist: (See the following pages.) About the Artwork: "The Child's Bath" by Mary Cassatt was painted in 1893. This is one of Cassatt's most famous works, it is typical of her art due to it's emphasis on the figure and the common theme of woman and child. This was painted over one hundred years ago, when homes did not have running water and separate rooms for bathing. Unlike Renaissance painters who tried to create an illusion of reality and depth by using scientific perspective, Cassatt's composition tilt's toward us as if we were looking down from above. Our attention is drawn to the tenderness displayed between the woman and her child. The stripes of the woman's dress and the diamond patterns in the carpet provide an almost flat background on which the figures appear to be three dimensional. Both figures are totally absorbed in the bathing ritual. "Ginevra De' Benci" by Leonardo Da Vinci was painted around 1474. During the time of Leonardo it was customary for young women to have their portraits painted just before their weddings. This was probably Ginevra's wedding portrait as she was married in 1474 at the age of seventeen. In this portrait of Ginevra De' Benci the light floods her face and hair to reveal a glowing the tiny curls of her hair and the rounded shape of her face. The soft fabric of her clothing can be seen in the lower part of the painting. -
Filosóficas Y Encarnadas
Universidad Nacional de Córdoba Repositorio Digital Universitario Biblioteca Oscar Garat Facultad De Ciencias De La Comunicación FILOSÓFICAS Y ENCARNADAS. INVESTIGACIONES ESTÉTICAS EN ARGENTINA III Jornadas Nacionales. VII Encuentro De Investigadores “Estética Y Filosofía del Arte” Editores: Santiago Auat Lucía Blázquez Agustín Busnadiego Agustín Domínguez Manuel Molina Cómo citar el artículo: Albín, J. y otros (2019). Filosóficas y Encarnadas. Investigaciones Estéticas en Argentina. Actas III Jornadas Nacional, VII Encuentro de Investigadores “Estética y Filosofía del Arte”. Secretaría de Ciencia y Tecnología, Facultad de Ciencias de la Comunicación, Universidad Nacional de Córdoba. Disponible en Repositorio Digital Universitario Licencia: Creative Commons Atribución – No Comercial – Sin Obra Derivada 4.0 Internacional Filosóficas y encarnadas. Inv~tigaciones esteticas en Argentina 111º Jornadas Nacionales VII Encuentro de Investigadores "Estética y Filosofía del Arte" Etlitores Santiago ~uat liucía Blázguez ~gustín Busnaciiego ~ ustín Domínguez Manuel Melina III Jornadas Nacionales VII Encuentro de investigadores “Estética y Filosofía del Arte” Filosóficas y encarnadas Investigaciones estéticas en Argentina Editores Santiago Auat Lucía Blázquez Agustín Busnadiego Agustín Domínguez Manuel Molina Filosóficas y encarnadas : investigaciones estéticas en Argentina / Juan Albín ... [et al.] ; compilado por Santiago Auat ... [et al.]. - 1a ed . - Córdoba : María Verónica Galfione, 2019. Libro digital, PDF Archivo Digital: descarga ISBN 978-987-86-3226-1 -
Newsletter Nov 2015
Leonardo da Vinci Society Newsletter Editor: Matthew Landrus Issue 42, November 2015 Recent and forthcoming events did this affect the science of anatomy? This talk discusses the work of Leonardo da Vinci, The Annual General Meeting and Annual Vesalius and Fabricius and looks at how the Lecture 2016 nature of the new art inspired and shaped a new wave of research into the structure of the Professor Andrew Gregory (University College, human body and how such knowledge was London), will offer the Annual Lecture on Friday, transmitted in visual form. This ultimately 13 May at 6 pm. The lecture, entitled, ‘Art and led to a revolution in our under-standing of Anatomy in the 15th & 16th Centuries’ will be anatomy in the late 16th and early 17th centu- at the Kenneth Clark Lecture Theatre of the ries. Courtauld Institute of Art (Somerset House, The Strand). Before the lecture, at 5:30 pm, the annual Lectures and Conference Proceedings general meeting will address matters arising with the Society. Leonardo in Britain: Collections and Reception Venue: Birkbeck College, The National Gallery, The Warburg Institute, London Date: 25-27 May 2016 Organisers: Juliana Barone (Birkbeck, London) and Susanna Avery-Quash (National Gallery) Tickets: Available via the National Gallery’s website: http://www.nationalgallery.org.uk/whats- on/calendar/leonardo-in-britain-collections-and- reception With a focus on the reception of Leonardo in Britain, this conference will explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collec- tions; and also look at the broader British context of the reception of his art and science by address- ing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo. -
The L3 Exhibitions Catalogue 2010-2014
The L3 Exhibitions Catalogue 2010-2014 Leonardo da Vinci overview Leonardo da Vinci is a universal genius. He What the public knows about Leonardo is bare- was, of course, an Italian, but he belongs to a ly the tip of the iceberg. His manuscripts con- past that is part of the cultural heritage of every tinue to hide secrets and are worthy of inquiry person and every nation. He is a singular exam- and presentation in new, innovative ways. L3 ple throughout history of a man who possessed explores, discovers and reveals the “unknown an enormous talent and excelled not only as a Leonardo” in order to spark the hidden genius scientist, but also as an artist. Most of the inven- that lies within us all. tions and machines that he designed can in fact be considered works of art. On the same note, Leonardo3 (L3) is the world leader in exclu- his artistic works are both the creations of a sive exhibitions and publications on da Vinci’s master artist and the products of a formidable genius. Each of our exhibitions is the result of scientific brain. work carried out by our own team of researchers who investigate and develop never-seen-before Just as his paintings deserve the kind of investi- machines for each event. gation to which only today’s technology can do justice, so the full extent of his scientific work Our exhibitions are “dynamic” rather than “stat- has yet to be revealed to the public. ic”. We make extensive use of 3D animations, physical models and interactive software to of- fer the public a unique level of interaction and a hands-on “edu-tainment” experience. -
Leonardo Da Vinci: the Experience of Art
2019-2020 SEASON LOUVRE AUDITORIUM LEONARDO DA VINCI: THE EXPERIENCE OF ART FRIDAY 25 OCTOBER 2019 LEONARDO DA VINCI: THE EXPERIENCE OF ART SYMPOSIUM ORGANISED TO COINCIDE WITH THe “LEONARDO DA VINCI” EXHIBITION (IN THE HAll NAPOLÉON UNTIL 24 FEBRUARY 2020) In collaboration with the C2RMF, the CNRS, the E-RIHS and IPERION-CH Scientific and organising committee: Vincent Delieuvin, Musée du Louvre Louis Frank, Musée du Louvre Michel Menu, C2RMF Bruno Mottin, C2RMF Élisabeth Ravaud, C2RMF The Louvre’s Leonardo exhibition and recent unveiling of IPERION CH (Integrated Platform for the European Research Infrastructure On Cultural Heritage) provide the perfect opportunity to present the public with the latest findings of studies on Leonardo’s oeuvre. The fruit of ten years of research carried out across various institutions, these new discoveries will allow greater insight into Leonardo’s unparalleled technique. PROGRAMME 10 a.m. Introduction by Isabelle Pallot-Frossard, C2RMF, and Dominique de Font-Réaulx, Musée du Louvre Morning Chair: Vincent Delieuvin, Musée du Louvre 10:15 a.m. Leonardo’s science and encyclopedic models of his time by Carmen C. Bambach, Metropolitan Museum of Art, New York 10:45 a.m. Recent investigations into the Windsor Leonardos by Martin Clayton, Royal Collection Trust, Windsor Castle 2 11:15 a.m. Three “preparatory cartoons” attributed to Leonardo: the “Portrait of Isabella d’Este”, the “Nude Mona Lisa” and “Head of a Child in Three-Quarter View” by Bruno Mottin, C2RMF 11:45 a.m. Conservation techniques and the shortcomings of literary texts: Giorgio Vasari, a case study by Louis Frank, Musée du Louvre, and Leticia Leratti, painter and sculptor 12 p.m. -
Johannes Gutenberg Zim:///A/Johannes Gutenberg.Html
People David Livingstone p2 Henry Morton Stanley p12 Johann Gutenberg p16 Leonardo da Vinci p24 http://cd3wd.com wikipedia-for-schools http://gutenberg.org page no: 1 of 41 David Livingstone zim:///A/David_Livingstone.html David Livingstone 2008/9 Schools Wikipedia Selection. Related subjects: British History 1750-1900; Geographers and explorers David Livingstone ( 19 March 1813 – 1 May 1873) was a British Congregationalist pioneer medical missionary with the London Missionary Society and explorer in central Africa. He was the first European David Livingstone to see Mosi-oa-Tunya (Victoria Falls), to which he gave the English name in honour of his monarch, Queen Victoria. He is the subject of the meeting with H. M. Stanley, which gave rise to the popular quotation, " Dr Livingstone, I presume?" Perhaps one of the most popular national heroes of the late-nineteenth century in Victorian Britain, Livingstone had a mythic status, which operated on a number of interconnected levels: that of Protestant missionary martyr, that of working-class "rags to riches" inspirational story, that of scientific investigator and explorer, that of imperial reformer, anti-slavery crusader and advocate of commercial empire. His fame as an explorer helped drive forward the obsession with discovering the sources of the Nile River that formed the culmination of the classic period of European geographical discovery and colonial penetration of the African continent. At the same time his missionary travels, "disappearance" and death in Africa, and subsequent glorification as posthumous national hero in 1874 led to the founding of several major central African Christian missionary initiatives carried forward in the era of the European "Scramble for Africa." Early life Born 19 March 1813 David Livingstone was born on March 19, 1813 in the mill town of Blantyre, Lanarkshire, Scotland, into Blantyre, United Kingdom a Protestant family believed to be descended from the highland Livingstones, a clan that had been Died 4 May 1873 (aged 60) previously known as the Clan MacLea.