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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. -
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. -
14 GIOVANNI MARIA BOTTALLA Detto RAFFAELLINO Savona, 1613 - Milano, 1640
Maison d ’Art Tableaux anciens - Objets d ’art S.C.S. Corsini & Cie Park Palace - 27, avenue de la Costa - MC 98000 Monaco Tel (377) 97 97 11 60 Fax (377) 97 97 11 61 Internet site: http://www.oldmasters.com E-mail Monaco: [email protected] Maison d ’Art Presenta / Presents LE MERAVIGLIE DELL’ARTE IMPORTANT OLD MASTER PAINTINGS 25 marzo - 25 aprile 2005 25 March - 25 April 2005 Maison d’Art - Monaco (Monte Carlo) In copertina Cover illustration GIOVANNI MARIA BOTTALLA detto RAFFAELLINO Bacco e Arianna nell’isola di Nasso Bacchus and Ariadne on the Island of Naxus Catalogo n. 14 Catalogue no. 14 © Copyright 2005 by Edizioni Maison d’Art Monaco Tutti i diritti riservati All rights reserved LE MERAVIGLIE DELL’ARTE IMPORTANT OLD MASTER PAINTINGS Maison d’Art - Monaco (Monte Carlo) 25 marzo - 25 aprile 2005 25 March - 25 April 2005 Consulenza scientifica Consultative Committee Hugh Brigstoke Maria Cristina Chiusa Arabella Cifani Frank Dabell Gigetta Dalli Regoli Daniele de Sarno Prignano Mina Gregori Sir Denis Mahon Camillo Manzitti Franco Monetti Filippo Pedrocco Annalisa Scarpa Sonino Robert B. Simon Nicola Spinosa David Stone Marco Tanzi Marietta Vinci-Corsini Tiziana Zennaro Autori delle schede del catalogo Authors of Catalogue Entries Hugh Brigstoke [H.B.] Maria Cristina Chiusa [M.C.C.] Arabella Cifani [A.C.] Frank Dabell [F.D.] Gigetta Dalli Regoli [G.R.] Daniele de Sarno Prignano [D.S.P.] Mina Gregori [M.G.] Camillo Manzitti [C.M.] Franco Monetti [F.M.] Filippo Pedrocco [F.P.] Annalisa Scarpa Sonino [A.S.S.] Robert B. Simon [R.B.S.] Nicola Spinosa [N.S.] Marco Tanzi [M.T.] Marietta Vinci-Corsini [M.V.C.] Coordinamento della mostra Exhibition Coordinator Silvia Bonfante - 5 - Cura e redazione del catalogo Catalogue edited by Frank Dabell Tiziana Zennaro Traduzioni Translation Frank Dabell (Italiano-Inglese): cat. -
Center 34 National Gallery of Art Center for Advanced Study in the Visual Arts Center34
CENTER 34 CENTER34 NATIONAL GALLERY OF ART CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS NATIONAL GALLERY OF ART CENTER FOR IN STUDY THE ADVANCED VISUAL ARTS CENTER34 CENTER34 NATIONAL GALLERY OF ART CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Record of Activities and Research Reports June 2013 – May 2014 Washington, 2014 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, DC Mailing address: 2000B South Club Drive, Landover, Maryland 20785 Telephone: (202) 842-6480 Fax: (202) 842-6733 E-mail: [email protected] Website: www.nga.gov/casva Copyright © 2014 Board of Trustees, National Gallery of Art, Washington. All rights reserved. This book may not be reproduced, in whole or in part (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law, and except by reviewers from the public press), without written permission from the publishers. Produced by the Center for Advanced Study in the Visual Arts and the Publishing Office, National Gallery of Art, Washington ISSN 1557-198x (print) ISSN 1557-1998 (online) Editor in Chief, Judy Metro Deputy Publisher and Production Manager, Chris Vogel Series Editor, Peter M. Lukehart Center Report Coordinator, Hayley Plack Managing Editor, Cynthia Ware Design Manager, Wendy Schleicher Assistant Production Manager, John Long Assistant Editor, Lisa Wainwright Designed by Patricia Inglis, typeset in Monotype Sabon and Helvetica Neue by BW&A Books, Inc., and printed on McCoy Silk by C&R Printing, Chantilly, Virginia Frontispiece: Members of Center, December 17, 2013 -
Summary for Bellini, Giovanni, C. 1430/1435-1516
KRESS COLLECTION DIGITAL ARCHIVE Bellini, Giovanni, c. 1430/1435-1516 IDENTIFIER NAM0107 NATIONALITY Venetian BIRTH DATE 1425 DEATH DATE 1516 EXTERNAL LINKS UNION LIST OF ARTIST NAMES RECORD http://vocab.getty.edu/page/ulan/500019244 VIRTUAL INTERNATIONAL AUTHORITY FILE RECORD http://viaf.org/viaf/100161245 LIBRARY OF CONGRESS NAME AUTHORITY FILE RECORD http://id.loc.gov/authorities/names/n50007140 WIKIPEDIA https://en.wikipedia.org/wiki/Giovanni_Bellini 18 RELATED ART OBJECTS K1080 Alvise Vivarini Portrait of a Man K357 Vincenzo Catena Portrait of Giambattista Memmo NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE K594 Venetian 16th Century Pagan Rite, A K1628 Giovanni Bellini An Episode from the Life of Publius Cornelius Scipio K413 Attributed to Giovanni Bellini Giovanni Emo K1077 Giovanni Bellini Madonna and Child K479 Workshop of Giovanni Bellini Madonna and Child in a Landscape NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE K1244 Follower of Giovanni Bellini Madonna and Child with Saints K467 Giovanni Bellini Portrait of a Venetian Gentleman K331 Giovanni Bellini Portrait of a Young Man K406 Giovanni Bellini Saint Jerome Reading K1659 Giovanni Bellini The Infant Bacchus NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3 KRESS COLLECTION DIGITAL ARCHIVE K1212 Follower of Giovanni Bellini Madonna and Child in a Landscape K1710 Attributed to Giovanni Bellini Bearded Man, A K1904 Giovanni Bellini and Vincenzo Catena Madonna and Child with Saint John the Baptist and Saint Peter K1905 Giovanni Bellini Madonna and Child K2188 Giovanni Bellini Madonna and Child NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 4 KRESS COLLECTION DIGITAL ARCHIVE K389 Giovanni Bellini Saint Luke and Saint Albert of Sicily RECORD LINK https://kress.nga.gov/Detail/entities/NAM0107 NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 5. -
The French History of Leonardo Da Vinci's Paintings
The French History of Leonardo da Vinci’s Paintings Laure Fagnart A TURSO, dove se dimorò per tucte le nove del mese, do The date is 10 October 1517. In his travel journal, Antonio de Beatis Dpoi pranso se andò ad Amboys distante VII leghe [...]. In uno recorded the meeting between his patron, Cardinal Louis of Ara- de li borghi el signore [Louis of Aragon] con noi altri andò ad gon, and Leonardo da Vinci, who, a few months earlier, had set up videre messer Lunardo Vinci firentino, vecchio de più de LXX anni home in the manor of Cloux. As we well know, this entry is a de- [the painter was 65 years old, actually], pictore in la età nostra excel- cisive one. It helps us to gain a clearer picture of the master’s daily lentissimo, quale mostrò ad sua Signoria Illustrissima tre quatri, uno life in the Loire Valley; it also helps us to deduce that the Italian di certa donna firentina, facto di naturale, ad instantia del quondam had brought part of his artistic and scientific equipment to France. magnifico Iuliano de Medici, l’altro di san Iohanne Baptista giova- The master actually showed his hosts certain paintings – a portrait ne, et uno de la Madonna et del figliolo che stan posti in gremmo of a Florentine lady, a young St. John the Baptist, and a Virgin and de sancta Anna, tucti perfectissimi. Ben vero che da lui per esserli Child with St. Anne – as well as projects involving machines and venuta certa paralesi ne la dextra non se ne può expectare più cosa anatomical studies. -
Paintings and Statuary
().11' PICTURES Lf{SP 'P" '1'III: !'xIttbtttOtt. (1ittttt4tt1) ýý'ý`lit' 1vOt' 'I'l l(il: 'I'IIIiH \\'1'1'11 CA TAL () G UI], OF PAINTINGSAND STATUARY, (111' rill" A'1'HENNIEUlVIGALLERY, lil'; A(Y)N ti'['REET, BOSTON. 1.8(i3. liUs1'0 N: F1- t i,: I) N. 1.s: 1 NV ýwinr, r- 1TIt1: F.'P, ggmeito t1Le Old South CLurrh. , 18 113. Wh-PRICE OF CATALOGUE, TEN CENTS-91 7- COMMMEE. JAbIFS COllMAN. MLSSiiS. _lI. '° EDWARD PEIRKINS. _X. GEORGE W. WALE"S. (6 B. S. ROTCII. 44 C. F. SIIIMMIN. DIRECTOR-J. HARVEY YOUNG. STATUARY. Nos. Subjects. Owners. 1 Copy of the Head of Apollo Belvidere. Dlrs. II. Greenough. 2 Bust of Raphael. Presented by Hon. T. 11. Perkins. Athena um. 3 Bust. R. S. Greenough. 4 Hobe Ganymede, by T. G. Crawford. C. C. Perkins. and " 5 Statue of Ceres. 6 Bust of Rubens. Presented by Hen. T. IL Perkins. Athenaeum. 7 Bust of a Vestal, by Canova. C. C. Perkins. 8 Cast of the Laoroön. Atliena; um. 9 Bust of a Child, by T. Ball. 10 Bust of W. Allston, by Clevenger. Athenaeum. 11 Anacreon, by Crawford. Athenaeum. 12 Cast of the Apollo Belvidere. Athenamin. 13 Bas-relief, CGSperauza, " by W. W. Story. 14 Bust of Judge Story, by W. W. Story. 15 Statue of a Venue at the Bath. Athenaeum. 16 Cast of the Statue of Diana hunting. Athenaeum. 17 Bas-relief. Athenaeum. 18 Bust of Napoleon. Mrs. 11. Greenough 19 Cast from the Statue of the Vatican Mercury. Athenaeum. " The god appears standing, with a characteristic inclination of the head, musingly regard- ing the affairs of mortals. -
By Leonardo Da Vinci
Advances in Historical Studies, 2021, 10, 1-6 https://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 Analysis of a “Lady with an Ermine” by Leonardo Da Vinci Grigol Keshelava Department of Vascular Surgery, Helsicore, Tbilisi, Georgia How to cite this paper: Keshelava, G. Abstract (2021). Analysis of a “Lady with an Er- mine” by Leonardo Da Vinci. Advances in In early 1480 Leonardo da Vinci left Florence and moved to Milan, where he Historical Studies, 10, 1-6. received important commissions from the Duke Ludovico Sforza. The most https://doi.org/10.4236/ahs.2021.101001 famous work performed by Leonardo during this period is the “Last Supper”, Received: November 23, 2020 and the best psychological portrait he has created then is “Lady with an Er- Accepted: December 27, 2020 mine” in 1490. The women depicted in the painting is Cecilia Gallerani, Lu- Published: December 30, 2020 dovico Sforza’s favorite. Upon closer examination of the painting, we discov- ered three details. Through the program Paint X, we moved these details to Copyright © 2021 by author(s) and the final locations. By moving three details on the painting “Lady with an Scientific Research Publishing Inc. This work is licensed under the Creative Ermine” we get the image of a crossed snake. We think that the ermine, who Commons Attribution International looks like a mongoose in dimensions, is associated with Ludovico Sforza. In License (CC BY 4.0). the crossed serpent, Leonardo implies any danger from which Ludovico pro- http://creativecommons.org/licenses/by/4.0/ tects Cecilia. -
Salvator Mundi Steven J. Frank ([email protected])
A Neural Network Looks at Leonardo’s(?) Salvator Mundi Steven J. Frank ([email protected]) and Andrea M. Frank ([email protected])1 Abstract: We use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci in particular, Salvator Mundi, the world’s most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, our system can identify likely forgeries and shed light on attribution controversies. Leonardo’s few extant paintings test the limits of our system and require corroborative techniques of testing and analysis. Introduction The paintings of Leonardo da Vinci (1452-1519) represent a particularly challenging body of work for any attribution effort, human or computational. Exalted as the canonical Renaissance genius and polymath, Leonardo’s imagination and drafting skills brought extraordinary success to his many endeavors from painting, sculpture, and drawing to astronomy, botany, and engineering. His pursuit of perfection ensured the great quality, but also the small quantity, of his finished paintings. Experts have identified fewer than 20 attributable in whole or in large part to him. For the connoisseur or scholar, this narrow body of work severely restricts analysis based on signature stylistic expressions or working methods (Berenson, 1952). For automated analysis using data-hungry convolutional neural networks (CNNs), this paucity of images tests the limits of a “deep learning” methodology. Our approach to analysis is based on the concept of image entropy, which corresponds roughly to visual diversity. While simple geometric shapes have low image entropy, that of a typical painting is dramatically higher. -
Leonardo Da Vinci
LEONARDO DA VINCI WALTER ISAACSON MAIN CHARACTERS Cesare Borgia (c. 1475–1507). Italian warrior, illegitimate son of Pope Alexander VI, subject of Machiavelli’s The Prince, Leonardo employer. Donato Bramante (1444–1514). Architect, friend of Leonardo in Milan, worked on Milan Cathedral, Pavia Cathedral, and St. Peter’s in the Vatican. Caterina Lippi (c. 1436–1493). Orphaned peasant girl from near Vinci, mother of Leonardo; later married Antonio di Piero del Vac- cha, known as Accattabriga. Charles d’Amboise (1473–1511). French governor of Milan from 1503 to 1511, Leonardo patron. Beatrice d’Este (1475–1497). From Italy’s most venerable family, married Ludovico Sforza. Isabella d’Este (1474–1539). Beatrice’s sister, the Marchesa of Man- tua, tried to get Leonardo to paint her portrait. Francesco di Giorgio (1439–1501). Artist-engineer-architect who worked with Leonardo on Milan’s cathedral tower, traveled with him to Pavia, translated Vitruvius, and drew a version of Vitruvian man. Francis I (1494–1547). King of France from 1515, last patron of Leonardo. Pope Leo X, Giovanni de’ Medici (1475–1521). Son of Lorenzo de’ Medici, elected pope in 1513. 2 Louis XII (1462–1515). King of France from 1498, conquered Milan in 1499. Niccolò Machiavelli (1469–1527). Florentine diplomat and writer, became envoy to Cesare Borgia and friend of Leonardo in 1502. Giuliano de’ Medici (1479–1516). Son of Lorenzo, brother of Pope Leo X, Leonardo’s patron in Rome. Lorenzo “the Magnificent” de’ Medici (1449–1492). Banker, art patron, and de facto ruler of Florence from 1469 until his death. Francesco Melzi (c. -
OLD MASTER PAINTINGS Wednesday 6 December 2017
OLD MASTER PAINTINGS Wednesday 6 December 2017 For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Lisa Greaves Director, Head of Department, Group Head of Pictures Department Director London London and Head of Sale London – – – Poppy Harvey-Jones Archie Parker Brian Koetser Junior Specialist Consultant Consultant London London London – – – Bun Boisseau Mark Fisher Madalina Lazen Administrator, Director, European Paintings, Senior Specialist, European Paintings London Los Angeles New York Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors – – – Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Jean Ghika, Charles Graham-Campbell, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Matthew Haley, Richard Harvey, Robin Hereford, Ralph Taylor, Charlie Thomas, David Williams,