为了庆祝达·芬奇逝世500周年，由负责管理皇家收藏的皇家收藏信托（Royal Collection Trust）策划了《李奥纳多·达·芬奇：绘画人生》 (Leonardo da Vinci: A Life in Drawing) 全国性展演计画，将144件皇家收藏品分配于英国各地的12间艺术机构同时展出，以全面反映这位全方位天才的广泛兴趣为目的，包括绘画，建筑，音乐，解剖学，工程学，制图学，地质学和植物学等多元成就。该系列展览于2019年2月1日开始，将一直持续到5月6日。
5月24日至10月13日，在伦敦白金汉宫女王画廊(Queen's Gallery)将展出超过200幅达·芬奇素描和手稿；11月22日至2020年3月15日在爱丁堡荷里路德宫女王美术馆展出80幅素描。各位喜歡达·芬奇的讀者，有時間務必到英國走一趟。(news.99ys.com)
英國皇家郵政（Royal Mail）在2月13日推出一系列12枚郵票，皆以达·芬奇作品為主題。作者: ngsunyu 时间: 2019-4-12 01:08
邮票上的画作包括《骑士纪念碑的设计（A design for an equestrian monument）1485-1488年》。我找不到《骑士纪念碑的设计》明信片。有谁知道伦敦白金汉宫女王画廊(Queen's Gallery)有否这枚明信片出售？
LEONARDO DA VINCI A design for an equestrian monument c.1485-88,
Metalpoint on blue prepared paper, RCIN 912358 from www.rct.uk/collection/search#/17 ... wing-water-a-cross.作者: ngsunyu 时间: 2019-4-12 01:11 本帖最后由 ngsunyu 于 2019-4-12 01:16 编辑
邮票上的画作包括《颅骨截面（The skull sectioned）1489年》。其中一個值得留意之處，是畫作中的文字，多以达·芬奇著名的鏡像書寫（Mirror Writing）手法寫出。達文西是一位左撇子，卻慣常從右至左以反方向書寫文字。(HK.thevalue.com)
我找不到《颅骨截面》明信片。有谁知道伦敦白金汉宫女王画廊(Queen's Gallery)有否这枚明信片出售？
英國皇家郵政（Royal Mail）盖戳中心地址是London Special Handstamp Centre, Royal Mail, Mount Pleasant, Farringdon Road, LONDON, EC1A 1BB. 在2017年我访问盖戳中心时, 没有门市盖戳服务。请注意地址没有门牌号码。我不得不四处询问。记得接待处是要爬上斜坡顶端左侧。该部门是限制外人进入的。接待处小姐必须打电话 (电话号码是0345 071 2000) 给他们, 碰运气他们不忙, 不在开会或午餐。我去时碰好工作人员非常乐意帮忙。他拿了我的明信片，甚至免费寄给我。相比之下，法国盖戳中心守门警卫(盖戳中心限制外人进入)和意大利（罗马）工作人员的态度都不如。
《颅骨截面》极限片最佳邮戳是 14809 温莎首日戳因为片票戳三图一致。谁有这枚？
每日适用永久性的温莎城堡(收藏地)邮戳是 Windsor Castle E4680但只有片票双图一致。
每日适用永久性的白金汉宫(展出地)邮戳是 Buckingham Palace (London SW) L4666但只有片票双图一致。
LEONARDO DA VINCI The skull sectioned 1489 Traces of black chalk, pen and ink, 19.0 x 13.7 cm (sheet of paper) RCIN 919058 from www.rct.uk/collection/919058/rec ... he-skull-sectioned.作者: 时永良 时间: 2019-4-12 14:13 作者: ngsunyu 时间: 2019-4-13 00:18 本帖最后由 ngsunyu 于 2019-4-13 00:19 编辑
达·芬奇为《最后的晚餐》准备了很多人物草图，但只有极少数幸存了下来，耶稣十二门徒中的圣菲利浦(St.Philip)的素描就是其中的一幅。邮票上的画作包括《圣菲利浦的头像》（约1495年）。(sohu.com)
LEONARDO DA VINCI The head of St Philip c.1495 Black chalk, 19.0 x
15.0 cm (sheet of paper) RCIN 912551 from www.rct.uk/collection/search#/41 ... -head-of-st-philip.作者: ngsunyu 时间: 2019-4-13 00:21 本帖最后由 ngsunyu 于 2019-4-13 00:47 编辑
邮票上的画作包括《丽达的头像》（1505-1508年）。达·芬奇为创作《丽达》与《天鹅》（两幅作品均已失传）预先打的草稿。丽达的人物构思来自于希腊神话中斯巴达女王丽达被朱庇特以天鹅的形式引诱的故事，在这幅画中，达·芬奇把关注点落在了丽达头顶及两鬓交错的发辫上。(sohu.com)
我找不到《丽达的头像的素描画》明信片。有谁知道伦敦白金汉宫女王画廊(Queen's Gallery)有否这枚明信片出售？
虽不是丽达素描画明信片但是这枚明信片是失传的达·芬奇《丽达与天鹅》的複制品之一。有一幅漂亮的《丽达与天鹅》臨摹画現藏於罗马的博尔盖塞美术馆。访问博尔盖塞美术馆三次：2009年，2013年，2017年。前两次禁止摄影。 这是2017年的照片。
LEONARDO DA VINCI The head of Leda c.1505-8 Black chalk, pen and ink
17.7 x 14.7 cm (sheet of paper), RCIN 912518 from www.rct.uk/collection/search#/18 ... 8/the-head-of-leda.
Leonardo da Vinci began making studies in 1504 for a painting,
apparently never executed, of Leda seated on the ground with her
children. In 1508 he painted a different composition of the subject,
with a nude standing Leda cuddling the Swan, with the two sets of
infant twins (also nude), and their huge broken egg-shells. The
original of this is lost, probably deliberately destroyed, and was
last recorded in the French royal Chateau de Fontainebleau in 1625 by
Cassiano dal Pozzo. However it is known from many copies, of which the
earliest are probably the Spiridon Leda, perhaps by a studio assistant
and now in the Uffizi, and the one at Wilton House in England
(en.m.wikipedia.org/Leda and the Swan (Leonardo)作者: ngsunyu 时间: 2019-4-14 00:56 本帖最后由 ngsunyu 于 2019-4-17 04:58 编辑
La Scapigliata esposto alla Galleria Nazionale di Parma. Si è anche
ipotizzato che l'opera possa essere uno studio per la Leda col cigno
ora perduta. (it.wikipedia.org/wiki/Leonardo_da_Vinci)作者: ngsunyu 时间: 2019-4-17 04:44
虽然在皇家收藏信托中，邮票上的画作不包括《李奥纳多·达·芬奇素描像》（1515-1518年）。这是他的得意门生Francesco Melzi（约1491-1568/70年）的作品。作者: ngsunyu 时间: 2019-4-17 04:45 本帖最后由 ngsunyu 于 2019-4-20 00:15 编辑
現存的达·芬奇肖像画只有三幅可制极限明信片, 一為 紅色粉筆畫的肖像 (Portrait of a man in red chalk)，畫於大約1512年至1515年，被廣泛視為最初的达芬奇自画像。这幅《自畫像》現藏於都靈皇家圖書館，關於它是达芬奇自畫像的說法最早出現在19世紀，理由是畫中人與拉斐爾的《雅典學院》中的达芬奇像十分相似，且此畫的繪畫水準也符合达芬奇的水準。此外它和喬爾喬·瓦薩里的《藝苑名人傳》第二版卷頭插畫中的达芬奇像也很相似。按照支持此學說者的說法，這幅畫是达芬奇在60歲左右繪成的。雖然並非學界同意觀點，但對公眾來說，這幅畫已經成為了达芬奇的典型肖像。 (zh.wikipedia.org/wiki/自畫像_(達文西)
A portrait of Leonardo c.1515-18
Red chalk | 27.5 x 19.0 cm (sheet of paper) | RCIN 912726
A portrait drawing of the head of Leonardo da Vinci, turned in profile to the left; with long wavy hair and a flowing beard. Inscribed below: LEONARDO / VINCI.
This is the only reliable surviving portrait of Leonardo da Vinci (1452–1519). It was most probably executed towards the end of his life by his pupil Francesco Melzi, perhaps with enlivening strokes by Leonardo himself in the lower part of the hair. The sheet has been shaped for mounting and shows signs of having been attached to a support, lifted and restored at an early date; the paper has discoloured from long exposure to light. This was presumably therefore the portrait seen by Giorgio Vasari in Melzi’s villa, as recorded in his Lives (RCIN 1152359–61) in the context of the thousands of drawings by Leonardo that Melzi inherited, more than five hundred of which entered the Royal Collection in the seventeenth century: ‘he holds them dear, and keeps such papers together as if they were relics, in company with the portraits of Leonardo of happy memory’(Vasari 1996, I, p. 634).
Early writers were agreed that Leonardo was beautiful (even if none had known him personally), and that this was a natural, God-given corollary of his personal qualities and his abilities as an artist. But of those early texts, only the appendix to the brief biography by the so-called Anonimo Gaddiano gives some detail of Leonardo’s appearance, describing him as having ‘a beautiful head of hair down to the middle of his breast, in ringlets and well arranged’ (E.g. Goldscheider 1959, p. 32.). There is no evidence that Leonardo was bearded until his last years: before the sixteenth century a beard would have been seen as odd on an Italian – they were the preserve of the barbarous, Germans, Orientals, figures from ancient history and biblical times, philosophers, hermits and penitents.
It was probably through Vasari’s acquaintance with this drawing in Villa Melzi that the profile frontispiece to the biography of Leonardo in his Lives took the form that it did, with the addition of a cap; and from Vasari’s illustration stemmed posterity’s image of Leonardo. Intriguingly, the standard type of the Greek philosopher Aristotle converged with this likeness of Leonardo during the sixteenth century, to become the accepted pattern for the venerable natural philosopher. This fitted so perfectly the perception of Leonardo’s character that the now-famous drawing of an old man with furrowed brow, long beard and distant gaze in Turin (Biblioteca Reale) was unquestioningly accepted as a self-portrait of Leonardo when it surfaced in the early nineteenth century. That drawing passed into common currency as his definitive likeness and will doubtless retain that status. Only recently has it been pointed out that the Turin drawing – if it is by Leonardo at all – must on grounds of style be a work of the 1490s, when he was in his mid-forties, and thus cannot possibly be a self-portrait. (www.rct.uk/collection/912726/a-portrait-of-leonardo)作者: ngsunyu 时间: 2019-4-21 00:41 本帖最后由 ngsunyu 于 2019-4-22 08:03 编辑
19th century engraving by Raffaello Sanzio Morghen of a late posthumous portrait of Leonardo in the Uffizipreviously regarded as a portrait from life. Close similarity to the Lucan portrait suggests that one derives from the other or from a similar original. (en.wikipedia.org/wiki/Lucan_portrait_of_Leonardo_da_Vinci)
其他更有争议的达·芬奇肖像画包括《盧卡尼亞的达芬奇畫像》Lucan portrait of Leonardo da Vinci (畫作背面特意用拉丁文鏡射方式寫成「我所繪的」)、和 夾在达芬奇手稿《飛鳥錄》（Codexon the Flight of Birds）內，一張紅色粉筆繪製的草圖「Head of a Man」。(artemperor.tw/focus/989)
19th century engraving by Raffaello Sanzio Morghen of a late posthumous portrait of Leonardo in the Uffizi previously regarded as a portrait from life. Close similarity to the Lucan portrait suggests that one derives from the other or from a similar original. (en.wikipedia.org/wiki/Lucan_portrait_of_Leonardo_da_Vinci)
其他更有争议的达·芬奇肖像画包括《盧卡尼亞的达芬奇畫像》Lucan portrait of Leonardo da Vinci (畫作背面特意用拉丁文鏡射方式寫成「我所繪的」)、和 夾在达芬奇手稿《飛鳥錄》（Codexon the Flight of Birds）內，一張紅色粉筆繪製的草圖「Head of a Man」。(artemperor.tw/focus/989)
La Mort de Léonard de Vinci is an 1818 painting by the French artist Jean Auguste Dominique Ingres, showing the painter Leonardo da Vinci dying, with Francis I of France holding his head. It was commissioned by the Pierre Louis Jean Casimir de Blacas, the French ambassador in Rome, and now hangs in the Petit Palais in Paris. (En.wikipedia.org/The Death of Leonardo da Vinci)作者: ngsunyu 时间: 2019-5-2 05:28 本帖最后由 ngsunyu 于 2019-5-2 12:47 编辑
A drawing of the head of a man, turned in profile to the left, intended to demonstrate how rays of light from a single point would fall upon his face. Also a diagram and many notes on the action of light.
Leonardo’s own paintings are notable for their elaborate treatment of shadows (chiaroscuro), and here he sets out the geometrical principles of light and shade. This page from a dismantled notebook explains that where the light falls perpendicularly on the object, it will be most strongly illuminated; where it falls most obliquely, the object will be least strongly lit; and where no light is received it will be completely dark.
During the 1480s Leonardo became increasingly interested in the scientific basis of painting – that a painting was not merely a picture, but an objective rendering of the observable universe. Building on his earlier knowledge of perspective, he started to study proportion and geometry, the theory of light, and the principles of anatomy, and hatched a plan to compile a treatise on painting.
Text adapted from Leonardo da Vinci: A life in drawing, London, 2018作者: ngsunyu 时间: 2019-7-17 00:10 本帖最后由 ngsunyu 于 2019-7-17 06:46 编辑
The drawing on the verso of this sheet shows the skull sawn first down the middle, then across the front of the right side. With the two halves juxtaposed, the viewer can locate the facial cavities in relation to the surface features – the frontal sinus within the brow, the orbit of the eye, the nasal cavity, the maxillary sinus in the cheek, and the mouth. Leonardo believed all except the frontal sinus to be a third of the depth of the skull, each terminating below the senso comune. In the left margin Leonardo drew, described and enumerated the different types of teeth, molar, premolar, canine and incisor.
Leonardo’s most brilliant and sustained scientific pursuit was his study of human anatomy. He made hundreds of drawings from corpses that he had dissected in monastery hospitals, recording many anatomical structures for the first time in medical history.
Text adapted from Leonardo da Vinci: A life in drawing, London, 2018作者: ngsunyu 时间: 2019-7-17 06:44 本帖最后由 ngsunyu 于 2019-7-17 06:53 编辑
PHQ cards are postcards issued by the British Post Office depicting the designs of their commemorative stamps.
The 'PHQ' stands for Postal Headquarters. All items published by the Post Office are given a number which is prefixed by letters. The first card issued, on 16 May 1973, was numbered PHQ1, and the numbering sequence has continued to the present day.
There are three main areas of collecting interest. Many collectors like to collect only the unused cards, but some like to obtain them with first day of issue postmarks. Others like to obtain them with special handstamps that have some connection to the stamp subject matter. Also, stamp collectors will usually put the stamp on the back of the card, but a very popular variation is for the stamp to be applied to the face of the card, so that the postcard picture, stamp and postmark are all visible on the same face. (en.m.wikipedia.org/PHQ card)
This is the only painting on panel by Leonardo to have remained in Milan, this portrait was traditionally thought to depict Ludovico il Moro, Duke of Milan. In 1905, when restoration work removed the overpainting and uncovered the hand with a musical scroll in the lower part, it was suggested that this was the portrait of a Musician, at times identified as Franchino Gaffurio, chapel Master of the Duomo of Milan and others the Franco Flemish singer and composer Josquin des Prez, both of whom worked in Milan at the time of Leonardo and Ludovico il Moro. Recently it has also been suggested that it is a portrait of Atalante Migliorotti, a Tuscan musician who was a friend of Leonardo and who came with him to the Duke’s court in Milan as a singer and talented lyrist. (www.ambrosiana.it)
邮票上的画作包括《肩膀手臂肌肉和脚骨（The muscles of the shoulder and arm, and the bones of the foot ）1510~1511年》。其中一個值得留意之處，是畫作中的文字，多以达·芬奇著名的鏡像書寫（Mirror Writing）手法寫出。达·芬奇是一位左撇子，卻慣常從右至左以反方向書寫文字。(HK.thevalue.com)
Recto: The muscles of the shoulder and arm. Verso: The muscles of the shoulder and arm, and the bones of the foot c.1510-11
Recto: Pen and ink. Verso: Black chalk, pen and ink, wash | 28.9 x 20.1 cm (sheet of paper) | RCIN 919013
Recto: three studies, one on a larger scale, of a man's right arm and shoulder, showing muscles; three studies of a right arm; a diagram to illustrate pronation and supination of the hand. Verso: three drawings showing a deep dissection of the muscles of the shoulder region; two studies of the muscles of the shoulder and right arm; a diagram of the respiratory muscles; a skeleton of a left foot with leg bones; notes on the drawings.
The drawings at upper centre, centre and lower left (RCIN 919013v) are labelled 1st, 2nd and 3rd. The first shows the superficial muscles; in the second the deltoid is lifted away to the left, and some of pectoralis major removed to reveal more of the shoulder joint; and in the third, pectoralis major is removed to the side of the humerus. At upper left is the shoulder from the side (less successfully), and at centre right is a small ‘thread diagram’ of the same aspect. In the larger study at centre right, the details of the neck and forearm are exquisitely drawn, especially the muscles and tendons that act upon the thumb. The study at lower right demonstrates the articulation of the ankle.
Leonardo’s greatest scientific researches were in the field of anatomy. He dissected around thirty corpses during his career, and made many observations far in advance of his time. Here he studied the muscles of the shoulder and arm and the bones of the foot, commenting on the structures shown in his typical mirror-writing. Leonardo intended to write a treatise on anatomy, but this was never completed, and his astonishing drawings remained little known until modern times.
Text adapted from Leonardo da Vinci: A life in drawing, London, 2018作者: ngsunyu 时间: 2019-7-29 11:18
从21~26和35楼的达·芬奇作品，我们可以看到达·芬奇是典型的艺术家/科学家。事实上，他名列有史以来最有影响力的一百位科学家之一。
有史以来最有影响力的一百位科学家 (one hundred most influential scientists of all times) 由大英百科全书编译。
The Renaissance period brought to light the scientific genius of painter and sculptor Leonardo da Vinci. His drawings of presciently detailed flying machines preceded the advent of human flight by more than 300 years. What’s more, da Vinci’s drawings of the human anatomy structure not only illuminated many of the body’s features and functions, they also laid the foundation for modern scientific illustration. (全文可在 www.arvindguptatoys.com/arvindgupta/hundred-scientists.pdf下载)作者: ngsunyu 时间: 2019-8-2 02:00 本帖最后由 ngsunyu 于 2019-8-2 02:02 编辑
1519年，法国国王弗朗索瓦一世 （法语：François I) 下令修建香波尔城堡（法语：Chateau de Chambord）结合了法国与意大利文艺复兴时期风格。 达芬奇在香波堡动工前就去世了。 但是达芬奇的手稿中也有不少设计在香波堡得到了体现，比如双螺旋阶梯。2019年法国郵政发行了香波尔城堡500周年 纪念郵票。遗憾邮票设计没有采用双螺旋阶梯。
耶柔米，天主教譯圣熱羅尼莫或圣葉理諾，也译作圣杰罗姆（英文：Jerome（以前叫 Saint Hierom）；拉丁文：Eusebius Sophronius Hieronymus）是圣經學者，他在罗马接受教育，去莱茵河边寻求仕途，并在皈依苦修理念后前往叙利亚的荒漠地区苦行，晚年時定居於耶穌的出生地伯利恆，過苦修隱居的生活。(zh.m.wikipedia.org/耶柔米)
No information is available as to the destination of the painting and who it was commissioned by. Still in the sketch state it is one of the most enigmatic works of the great Tuscan painter, sculptor, architect, engineer and philosopher. The earliest mention of the St Jerome dates in fact to the beginning of the 19th century, when it is attributed to Leonardo, in the will of the Swiss painter Angelica Kauffmann. On Kauffmann's death all trace of it again disappeared, until it was found by chance and purchased by Napoleon's uncle, Cardinal Joseph Fesch. According to tradition the cardinal discovered the painting divided into two parts: the lower part in the shop of a Roman second-hand dealer where it formed the cover of a box, and that with the head of the saint at the shop of his shoemaker who had used it to make the cover of his stool. Over and above the story, the painting can really be seen to be cut into five parts. On the death of the cardinal the picture was auctioned and sold a number of times until it was identified and purchased for Pius IX (pontiff from 1846 to 1878) for the Vatican Pinacoteca (1856).
The attribution of the work proposed by Kauffmann has always met with the agreement of scholars due to the obvious similarities to the other works of the maestro and in particular the Adoration of the Magi (Florence, Uffizi Gallery). (www.museivaticani.va)作者: ngsunyu 时间: 2019-9-20 00:46 本帖最后由 ngsunyu 于 2019-9-20 00:48 编辑
Da Vinci's design is notable because it does not include any bird like features, which were commonly seen in early flying machine designs. This design, also known as the Aerial Screw, measured around 15 feet in diameter and was to have been constructed from linen, reed and wire. Beside the sketches, the artist has scribbled "If this instrument made with a screw be well made – that is to say, made of linen of which the pores are stopped up with starch and be turned swiftly, the said screw will make its spiral in the air and it will rise high". This note is what many modern thinkers have clung to in their attempts to give Da Vinci the credit for the original idea of the helicopter. However, the device he has drawn and described appears to be more similar to a modern microlight. (Leonardo-da-Vinci.net)
鳥類飛行手稿 (意大利語：Codice sul volo degli uccelli)是达·芬奇於1505年左右完成的一份短手稿。有18張對開紙，大小為21 × 15釐米。現藏於意大利都靈皇家圖書館，論述鳥類如何飛行并有飛行器的製造工序。實際上达·芬奇做出了許多個飛行器，還曾在佛羅倫薩附近的小山上試飛，但沒有成功。(zh.wikipedia.org/鳥類飛行手稿)
三博士来朝（Adorazione dei Magi）是意大利画家达芬奇的油画，创作于1481年，画面显示《圣经》中东方三博士朝拜耶稣基督的故事。自1670年起，该画藏于意大利佛罗伦萨的乌菲兹美术馆。但是最近的研究显示，这幅画作并非达芬奇作品的原貌，而是在达芬奇草图的基础上，由另一个不知名的画家完成的。(zh.m.wikipedia.org/三博士来朝 (达芬奇)
The subject of the cartoon is a combination of two themes popular in Florentine painting of the 15th century: The Virgin and Child with John the Baptistand Virgin and Child with Saint Anne.
The drawing is in charcoal and black and white chalk, on eight sheets of paper 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.
Cartoons of this sort were usually transferred to a board for painting by pricking or incising the outline. In the Virgin and Child with Saint Anne and Saint John the Baptist this has not been done, suggesting that the drawing has been kept as a work of art in its own right. The composition differs from Leonardo's only other surviving treatment of the subject, The Virgin and Child with St. Anne in the Louvre, in which the figure of the Baptist is not present. (en.wikipedia.org/The Virgin and Child with Saint Anne and Saint John the Baptist)
圣母子与圣安妮（The Virgin and Child with St. Anne）是达芬奇的画板油画，作于1508年－1510年，现藏于法国巴黎卢浮宫。描繪了聖安妮、聖母瑪利亞和和剛剛出生不久的耶穌。畫中聖母瑪利亞坐在她母親聖安妮的膝上，耶穌正想騎在一只祭祀用的羔羊上，暗示耶穌受難。(zh.wikipedia.org/圣母子与圣安妮)
圣母子与圣安妮（The Virgin and Child with St. Anne）是达芬奇的画板油画，作于1508年－1510年，现藏于法国巴黎卢浮宫。描繪了聖安妮、聖母瑪利亞和和剛剛出生不久的耶穌。畫中聖母瑪利亞坐在她母親聖安妮的膝上，耶穌正想騎在一只祭祀用的羔羊上，暗示耶穌受難。(zh.wikipedia.org/圣母子与圣安妮)
Saint Anne, the Virgin Mary and the Infant Jesus – three generations, two the fruit of immaculate conception – are portrayed in a landscape. The picture was very probably commissioned as an ex-voto to Saint Anne in gratitude for the birth of Louis XII’s daughter, but Leonardo worked too long on the picture to deliver it. The composition is a fine example of his experimentation with figure composition and greatly inspired artists of the following generation.
The picture is thought to have been commissioned by Louis XII of France to celebrate the birth of his only daughter, Claude, in 1499 – Anne was the name of his wife and of the patron saint of infertile and pregnant women. But the picture was never delivered to Louis XII since an observer noted its presence in Leonardo’s workshop in 1517 – the artist was then lodged by François I at Cloux, near Amboise. (Louvre.fr/The Virgin and Child with Saint Anne)
In 1516, Leonardo da Vinci went to France at the King’s invitation and took several paintings, including Mona Lisa and Sainte Anne, with him. He continued to work on the paintings while in France. Upon his death on May 2, 1519, in Amboise, France, the artist’s assistant Salaì inherited the work and sold them to France’s King Francis I for 4,000 gold coins. It was kept it at the Palace at Fontainebleau, where it remained until King Louis XIV moved the painting to the Palace of Versailles. Following the French Revolution it was moved to the Louvre.
Leonardo da Vinci left Milan in 1499 when the French army invaded Italy. On his way to Venice he stopped at Mantua, where Isabella d’Este asked him to paint her portrait. This famous drawing is a sketch for the portrait that was never painted; despite its fragile state of conservation, it is one of Leonardo’s finest head-and-shoulders portraits, here with the head in profile. It is also the only known drawing by the master that is highlighted with several colored pigments. (www.louvre.fr/en/oeuvre-notices/portrait-isabella-d-este)
After the work was purchased in 2017 by a mysterious buyer rumored to be the Saudi crown prince Mohammad bin Salman and gifted to the Louvre Abu Dhabi, the intrigue deepened when it failed to appear as planned at the museum in September 2018. Since it went AWOL, conspiracy theories have abounded, with the latest tracing it to the yacht of bin Salman. (news.artnet.com/exhibitions/salvator-mundi-louvre-1687114) 作者: ngsunyu 时间: 2020-5-27 00:05 本帖最后由 ngsunyu 于 2020-5-27 00:10 编辑
The pointing gesture of St. John toward the heavens suggests the importance of salvation through baptism that John the Baptist represents. The work is often quoted by later painters, especially those in the late Renaissance and Mannerist schools. The inclusion of a gesture similar to John's would increase the importance of a work with a religious conceit.
Many people are critical of this work, finding it a disturbing representation of a character normally portrayed as gaunt and fiery, living in a desert and surviving on a diet of locusts and honey. In Leonardo's painting St. John seems almost to be a hermaphrodite. He has a womanish arm bent across his breast, his finger raised towards heaven, and that same enigmatic smile so admired on the face of Mona Lisa, a smile which can be seen in other Leonardo paintings like that of St. Anne. His face is almost faun-like and framed by a glorious cascade of curls. The finger pointed towards heaven was to appear quite often in Leonardo's work (the Burlington House cartoon is another example) and denotes the coming of Christ. (LeonardodaVinci.net)
According to Frank Zöllner, Leonardo's use of sfumato "conveys the religious content of the picture," and that "the gentle shadows imbue the subject's skin tones with a very soft, delicate appearance, almost androgynous in its effect, which has led to this portrayal being interpreted as an expression of Leonardo's homoerotic leanings." (en.wikipedia.org/Saint John the Baptist (Leonardo)
推荐达·芬奇参考书 Leonardo da Vinci 精装本708页。作者是弗兰克·佐尔纳（Frank Zöllner)。出版社是Taschen。
