Leonardo, La Belle Ferronnière


Leonardo da Vinci, La Gioconda, 1503-1506, oil on poplar panel, 73 x 53 cm, Musée du Louvre, Paris, France

This is possibly the most recognisable painting in the history of art.
In a recent discussion, I said that I preferred a painting, attributed to Leonardo, which is also in the Louvre, but in a less prominent position.


Leonard da Vinci, attrib., Ritrato di Dama or La Belle Ferronnière, 1490-96, oil on wood, 62 x 44 cm, Musée du Louvre, Paris, France

The painting’s title, applied as early as the seventeenth century, identifying the sitter as the wife or daughter of an ironmonger, ferronnier, was said to be discreetly alluding to a reputed mistress of Francis I of France, married to a certain Le Ferron. The tale is a romantic legend of revenge in which the aggrieved husband intentionally infects himself with syphilis, which he passes to the king through infecting his wife.
Although the model of the painting La Belle Ferronniere is still shrouded in mystery, she was possibly Beatrice d’Este, wife of Ludovico Sforza,   challenges the portrait’s earlier attribution to Lucrezia Crivelli, a mistress of Ludovico.


Leonardo da Vinci, La Dama con l’Ermelino, 1489-90, oil on panel, 54 x 39 cm, National Museum, Crakow, Poland

The portrait’s subject is Cecilia Gallerani, painted at a time when she was the mistress of Ludovico Sforza, Duke of Milan, and Leonardo was in the Duke’s service. It is one of only four portraits of women painted by Leonardo, the others being the Mona Lisa, the portrait of Ginevra de’ Benci, and La belle ferronnière.


Detail from La Dama con l’Ermelino and La Belle Ferronnière

La Belle Ferronnière is attributed to Leonardo, although, as with so many paintings of the time, there is probably more than on hand.

Speaking of attribution, there is now serious concern about the painter of the lately purchased Salvator Mundi


Leonardo da Vinci, Salvator Mundi, c1500, oil on walnut panel, 66 x 45 cm, Louvre, Abu Dhabi, UAE

The Louvre Abu Dhabi has indefinitely postponed putting on display the painting bought for a world record price of $450.3m in 2017. Because its authenticity has been the focus of so much speculation, experts are wondering whether there may be new revelations to come about whether or not it is definitely a Leonardo.

And this one is a real mystery:


Unknown, after Leonardo da Vinci, The Isleworth Mona Lisa, date?, oil on canvas, 85 x 65 cm, Private Collection, Switzerland

This version of the Mona Lisa was bought in 1914 by the artist and critic Hugh Blaker, who lived in Isleworth, in West London. Unlike the Louvre’s Mona Lisa, around 1503-19, the painting is done on canvas, whereas the original is on panel. It has columns on the sides of the picture and the landscape is very simple. Blacker reported that the picture had come from a Somerset aristocratic collection. In 1962, the painting was bought by the UK based art collector Henry Pulitzer, who exhibited it very briefly in Phoenix, Arizona, in a commercial gallery. It has now disappeared, but is probably in a private collection, locked away in Basel, Switzerland.

BT, Meeting No27, 16 October, 2018


Figure Drawings

A discussion on figure drawing beginning with Leonard’s Vitruvian man, showing the proportions of the human body


Leonardo da Vinci, L’Uomo Vitruviano, c1490, pen and ink with wash over metal point on paper, 35 × 26 cm, Gallerie dell’Accademia, Venice

and one of his studies of a hand


Leonardo da Vinci, Study of a Hand

Seven examples of the depiction of the human figure

The work of Egon Schiele may serve as a basis for the representation of the use of the figure in art. His style is only one of countless others


Egon Schiele, Girl with Black Hair, 1911, watercolour & graphite pencil on paper, Allen Memorial Art Museum, Oberlin College, Ohio, USA


Egon Schiele, Girl with Black Hair, 1911, watercolour & graphite pencil on paper, Allen Memorial Art Museum, Oberlin College, Ohio, USA


Egon Schiele, Crouching Nude


Egon Schiele, Standing Male Nude with Red Loincloth, 1914, Albertina, Vienna


Egon Schiele, Girl in a Yellow Jacket

A cave painting, to show that mankind has always needed to draw


Big Horn Rhino cave painting, c30,000 BC, Chauvet, Ardèche, France

and a drawing, indicating simplicity and flowing movement


Pablo Picasso, Drawing of a head

MC, Meeting No23, 21 August 2018

Leonardo, Adoration of the Magi


Leonardo da Vinci, Adorazione dei Magi, 1482, oil on canvas, 246 x 243 cm, Galleria degli Uffizi, Florence, Italy

I thought this was an extraordinary painting and was sorry the details couldn’t be displayed properly.
It is nearly 8 feet sqare, and painted on 5 wooden panels. It was Leonardo’s first big commission, by Augustinian monks. In it there are 66 figures and 11 animals and there are more sketches for this work than for any of his others. He introduced the technique of “chiaroscuro” using strong contrasts of light and shadow to define three dimensional objects and a sense of volume. He also employed the technique of “sfumato” – smokiness, a kind of veil which dilutes the transition between colours, shadows and light, giving a poetical even dreamlike appearance. As well as the triangular shape given to Mary, Jesus and the Magi.
There is so much going on in the background (pagan temple being repaired, horsemen fighting, pleading old men, possibly a self-portrait) which is open to interpretation. Leonardo da Vinci was the quintessential Renaissance man: artist, architect, engineer, inventor, writer!


Leonardo da Vinci, Vergine delle Rocce, 1486, oil on wood transferred to canvas, 199 x 122 cm, Musée du Louvre, Paris, France


Leonardo da Vinci, Sant’Anna, la Madonna, il Bambino e san Giovannino, 1505, drawing on paper, 142 x 105 cm, National Gallery, London, UK


Leonardo da Vinci, La Scapigliata, 1508, oil on wood, 25 x 21 cm, Galleria Nationale, Parma, Italy

EH, Meeting No 17, 15/05/2018