Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0010
Margaret Dalivalle, Martin Kemp, R. B. Simon
Chapter 9 considers incidences of direct contact with Leonardo’s works by Britons abroad and at the Caroline court in London; that is, first-hand experience of the artist. Although the opportunity to view or handle drawings, manuscripts, or paintings attributed to Leonardo was extremely rare, an examination of the wider matrix of these experiences provides a sense of a less tangible aspect of the early English reception. Key episodes include: Charles, Prince of Wales and Leonardo’s codices belonging to Juan de Espina (Madrid, 1623); George Villiers, Duke of Buckingham, Rubens, and Leonardo’s Mona Lisa (Paris, 1625); Queen Henrietta Maria, Inigo Jones, and ‘Ginevra de’ Benci’ (London, 1636); Abraham van der Doort, Roger de Plessis, Duke of Liancourt, and Leonardo’s St John the Baptist (London, 1630); John Evelyn (Paris, 1644). The chapter concludes with a discussion of three works attributed to Leonardo or his immediate followers documented in the Caroline Royal Collection before 1639.
{"title":"Experiencing Leonardo","authors":"Margaret Dalivalle, Martin Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0010","url":null,"abstract":"Chapter 9 considers incidences of direct contact with Leonardo’s works by Britons abroad and at the Caroline court in London; that is, first-hand experience of the artist. Although the opportunity to view or handle drawings, manuscripts, or paintings attributed to Leonardo was extremely rare, an examination of the wider matrix of these experiences provides a sense of a less tangible aspect of the early English reception. Key episodes include: Charles, Prince of Wales and Leonardo’s codices belonging to Juan de Espina (Madrid, 1623); George Villiers, Duke of Buckingham, Rubens, and Leonardo’s Mona Lisa (Paris, 1625); Queen Henrietta Maria, Inigo Jones, and ‘Ginevra de’ Benci’ (London, 1636); Abraham van der Doort, Roger de Plessis, Duke of Liancourt, and Leonardo’s St John the Baptist (London, 1630); John Evelyn (Paris, 1644). The chapter concludes with a discussion of three works attributed to Leonardo or his immediate followers documented in the Caroline Royal Collection before 1639.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130667256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0003
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 2 opens the second section of the book, where the painting and its place in Leonardo’s body of work is considered. This chapter, on Leonardo and the ineffable, considers the way that he evoked the spiritual in his paintings, above all in his images of Christ. This stands in opposition to the image of Leonardo as a heretic, first suggested in the 1550 version of his Life by Giorgio Vasari. The documentation of Leonardo’s career and his last testament indicate that his Christianity was of a traditional kind. His library featured bibles and other standard religious texts. His statements indicate that the nature of the divine was not directly knowable, but manifested itself through the works created by God. In Leonardo’s devotional images and religious narratives, Christ and the Virgin act as calm centres expressing the elevated essence of supreme divinity. The Salvator Mundi and the late St John the Baptist are the most developed expressions of the otherness of the divine being, who knows secrets inaccessible to us.
{"title":"The Calm Centre","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0003","url":null,"abstract":"Chapter 2 opens the second section of the book, where the painting and its place in Leonardo’s body of work is considered. This chapter, on Leonardo and the ineffable, considers the way that he evoked the spiritual in his paintings, above all in his images of Christ. This stands in opposition to the image of Leonardo as a heretic, first suggested in the 1550 version of his Life by Giorgio Vasari. The documentation of Leonardo’s career and his last testament indicate that his Christianity was of a traditional kind. His library featured bibles and other standard religious texts. His statements indicate that the nature of the divine was not directly knowable, but manifested itself through the works created by God. In Leonardo’s devotional images and religious narratives, Christ and the Virgin act as calm centres expressing the elevated essence of supreme divinity. The Salvator Mundi and the late St John the Baptist are the most developed expressions of the otherness of the divine being, who knows secrets inaccessible to us.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133472495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0015
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 14 surveys the return of royal goods to Charles II at the Restoration of the Crown in 1660 and identifies the Greenwich Salvator Mundi, disbursed and returned by Capt. John Stone in the royal inventory of c. 1666. The chapter reviews the individuals involved in the restitution and augmentation of the Royal Collection and identifies two inventories of the collection at the earliest state of assembly c. 1660–2. It identifies a previously unrecognized—and extensive—list of paintings reserved for the use of Oliver Cromwell. It considers the location and fate of the painting of Christ attributed to Leonardo that was disbursed to Edward Bass in December 1651. The chapter identifies, for the first time, documentation of the presence of the Windsor Volume in the collection of Charles II.
{"title":"‘Nothing is hidden under the sun’","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0015","url":null,"abstract":"Chapter 14 surveys the return of royal goods to Charles II at the Restoration of the Crown in 1660 and identifies the Greenwich Salvator Mundi, disbursed and returned by Capt. John Stone in the royal inventory of c. 1666. The chapter reviews the individuals involved in the restitution and augmentation of the Royal Collection and identifies two inventories of the collection at the earliest state of assembly c. 1660–2. It identifies a previously unrecognized—and extensive—list of paintings reserved for the use of Oliver Cromwell. It considers the location and fate of the painting of Christ attributed to Leonardo that was disbursed to Edward Bass in December 1651. The chapter identifies, for the first time, documentation of the presence of the Windsor Volume in the collection of Charles II.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127738282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0009
Margaret Dalivalle, Martin Kemp, R. B. Simon
From the evidence of contemporary literary sources, manuscript inventories, correspondence, and eyewitness accounts, Chapter 8 considers the penetration of literary concepts of Leonardo as an artist and thinker (pictor doctus), how the early reception relates to the wider ‘invention’ of Leonardo as a cultural entity, and whether a distinctly ‘British version’ of Leonardo can be detected. It focuses on the introduction into England of sixteenth-century Italian receptions of Leonardo via Richard Haydocke’s 1598 translation of Giovanni Paolo Lomazzo’s Trattato dell’arte della pittura, and from contact with Giorgio Vasari’s Lives. It proposes that, due to the scarcity of Vasari’s text in early modern England, it was Lomazzo’s account of Leonardo that influenced the earliest understanding of the artist in Britain. The chapter tracks the absorption of Vasari’s text in seventeenth-century England through the interventions of key individuals at the Stuart courts, before and after the Interregnum. A particular focus is the prominent role of Thomas Howard, Earl of Arundel, who collected Leonardo’s writings and drawings from the Jacobean period until the mid 1640s. The dispersal of his collection throughout the seventeenth century, and the acquisition in the 1670s of the Windsor Volume by Charles II, and the Codex Arundel by the Royal Society, signal key staging posts in the reception of Leonardo in Restoration England.
从当代文学来源的证据、手稿清单、通信和目击者的叙述中，第8章考虑了达芬奇作为艺术家和思想家(pictor doctus)的文学概念的渗透，早期的接受如何与达芬奇作为一个文化实体的更广泛的“发明”联系起来，以及是否可以发现一个明显的“英国版本”达芬奇。它的重点是通过理查德·海多克(Richard Haydocke) 1598年翻译的乔瓦尼·保罗·洛马佐(Giovanni Paolo Lomazzo)的《绘画艺术》(Trattato dell’arte della pittura)，以及与乔治·瓦萨里(Giorgio Vasari)的《生活》(Lives)的接触，将16世纪意大利人对列奥纳多的欢迎引入英国。它提出，由于瓦萨里的文本在近代早期英国的稀缺性，是洛马佐对列奥纳多的描述影响了英国对这位艺术家的最早理解。这一章追踪了17世纪英格兰对瓦萨里文本的吸收，通过斯图亚特王朝中关键人物的介入，在间歇期前后。尤其值得关注的是阿伦德尔伯爵托马斯·霍华德(Thomas Howard)的重要作用，他收集了列奥纳多从詹姆士王朝时期到17世纪40年代中期的作品和绘画。他的藏品在整个17世纪的分散，以及1670年代查理二世获得的《温莎卷》和皇家学会获得的《阿伦德尔抄本》，标志着英国复辟时期接待达·芬奇的关键阶段。
{"title":"Inventing Leonardo","authors":"Margaret Dalivalle, Martin Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0009","url":null,"abstract":"From the evidence of contemporary literary sources, manuscript inventories, correspondence, and eyewitness accounts, Chapter 8 considers the penetration of literary concepts of Leonardo as an artist and thinker (pictor doctus), how the early reception relates to the wider ‘invention’ of Leonardo as a cultural entity, and whether a distinctly ‘British version’ of Leonardo can be detected. It focuses on the introduction into England of sixteenth-century Italian receptions of Leonardo via Richard Haydocke’s 1598 translation of Giovanni Paolo Lomazzo’s Trattato dell’arte della pittura, and from contact with Giorgio Vasari’s Lives. It proposes that, due to the scarcity of Vasari’s text in early modern England, it was Lomazzo’s account of Leonardo that influenced the earliest understanding of the artist in Britain. The chapter tracks the absorption of Vasari’s text in seventeenth-century England through the interventions of key individuals at the Stuart courts, before and after the Interregnum. A particular focus is the prominent role of Thomas Howard, Earl of Arundel, who collected Leonardo’s writings and drawings from the Jacobean period until the mid 1640s. The dispersal of his collection throughout the seventeenth century, and the acquisition in the 1670s of the Windsor Volume by Charles II, and the Codex Arundel by the Royal Society, signal key staging posts in the reception of Leonardo in Restoration England.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127557475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0016
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 15 investigates the circumstances around the apparent absence of the Salvator Mundi in the collection of King James II, with a particular focus on events in the immediate aftermath of the ‘Revolution’ of 1688. A number of possibilities present themselves. Did the painting pass out of the Royal Collection before the accession of James II in 1685? Did the dowager queen, Henrietta Maria, take it to a property of her jointure, or to France? Was the painting taken to Portugal by Queen Catherine of Braganza after the death of Charles II? This chapter considers the evidence of a key witness to events, and whether a painting described as a ‘Head of Our Saviour’, attributed to Leonardo da Vinci, sold out of the collection of the Duke of Buckingham in 1763, can be identified with the painting recorded in the collections of Charles I and Charles II. If so, by which route did it leave the Royal Collection and enter the Buckingham collection?
{"title":"The Picture Vanishes","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0016","url":null,"abstract":"Chapter 15 investigates the circumstances around the apparent absence of the Salvator Mundi in the collection of King James II, with a particular focus on events in the immediate aftermath of the ‘Revolution’ of 1688. A number of possibilities present themselves. Did the painting pass out of the Royal Collection before the accession of James II in 1685? Did the dowager queen, Henrietta Maria, take it to a property of her jointure, or to France? Was the painting taken to Portugal by Queen Catherine of Braganza after the death of Charles II? This chapter considers the evidence of a key witness to events, and whether a painting described as a ‘Head of Our Saviour’, attributed to Leonardo da Vinci, sold out of the collection of the Duke of Buckingham in 1763, can be identified with the painting recorded in the collections of Charles I and Charles II. If so, by which route did it leave the Royal Collection and enter the Buckingham collection?","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116509997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0005
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 4 examines the two surviving drawings for Christ’s draperies at Windsor, their attribution, and their place in the chronology of Leonardo’s drawing styles. The use of red chalk on red paper favours a later date for the drawings, as does the system of hatching, but the development of his drawing style is complicated, as indicated by a review of his drapery studies. A copy formerly in the Yarbrough collection shows Christ’s right sleeve, as in the Windsor drawing but not as in the final painting, suggesting that the copyist knew Leonardo’s painting at a point before it was finished.
{"title":"Drawings and Dates","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0005","url":null,"abstract":"Chapter 4 examines the two surviving drawings for Christ’s draperies at Windsor, their attribution, and their place in the chronology of Leonardo’s drawing styles. The use of red chalk on red paper favours a later date for the drawings, as does the system of hatching, but the development of his drawing style is complicated, as indicated by a review of his drapery studies. A copy formerly in the Yarbrough collection shows Christ’s right sleeve, as in the Windsor drawing but not as in the final painting, suggesting that the copyist knew Leonardo’s painting at a point before it was finished.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"216 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114851061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0012
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 11 considers access to Leonardo’s Salvator Mundi in England c. 1630–50. It proposes that the painting was inaccessible in the queen’s private apartments in the 1630s, which accounts for its invisibility in surviving documentation and its escape of campaigns of iconoclasm focused on royal chapels during the civil wars of the 1640s. It proposes the painting first came into public view in 1649, when it was put on display at the Commonwealth Sale. This is attested by lists prepared for foreign buyers by agents in London. The chapter expands to include works attributed to Leonardo from the collection of Charles I, in the hands of French and Flemish dealers in the 1650s.
{"title":"‘A Pitiable Sight’","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0012","url":null,"abstract":"Chapter 11 considers access to Leonardo’s Salvator Mundi in England c. 1630–50. It proposes that the painting was inaccessible in the queen’s private apartments in the 1630s, which accounts for its invisibility in surviving documentation and its escape of campaigns of iconoclasm focused on royal chapels during the civil wars of the 1640s. It proposes the painting first came into public view in 1649, when it was put on display at the Commonwealth Sale. This is attested by lists prepared for foreign buyers by agents in London. The chapter expands to include works attributed to Leonardo from the collection of Charles I, in the hands of French and Flemish dealers in the 1650s.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129849006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0007
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 6 discusses possible patronage of Leonardo’s Salvator Mundi, without arriving at any favoured conclusion. The presence of a ‘Christ in the manner of God the Father’ in the list of paintings owned in 1524 by Leonardo’s pupil, Salaì (Gian Giacomo Caprotti da Oreno), indicates that the painting was never delivered to a patron. The evidence of some early copies is reviewed, including that formerly in the de Ganay collection, which, on the grounds of execution and the infrared reflectogram, cannot be credited to Leonardo himself, though it is of better quality that most of the copies. The Leonardesque version of the young Christ as Saviour in the Pushkin Museum in Moscow and related pictures might be associated with Isabella d’Este’s attempts to secure a painting of the young Christ from Leonardo. The chapter concludes that the ex-Cook painting is the only one that manifests Leonardo’s painterly and intellectual brilliance.
第六章讨论了达芬奇的《救世主》可能受到的赞助，但没有得出任何有利的结论。列奥纳多的学生Salaì (Gian Giacomo Caprotti da Oreno)在1524年拥有的一份画作清单中出现了“以上帝的方式出现的基督”，这表明这幅画从未交给过赞助人。对一些早期复制品的证据进行了审查，包括以前在de Ganay收藏的证据，从制作和红外反射图的角度来看，它不能被认为是达芬奇本人的，尽管它的质量比大多数副本要好。莫斯科普希金博物馆里的达芬奇风格的《年轻的基督作为救世主》和相关的图片可能与伊莎贝拉·德埃斯特试图从达芬奇那里获得一幅年轻的基督的画有关。这一章的结论是，这幅前库克的画作是唯一一幅体现了达·芬奇绘画和智慧才华的作品。
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0002
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.
{"title":"The Discovery of a Masterpiece","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0002","url":null,"abstract":"Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128234325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0013
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 12 reviews the Bohemian artist Wencelaus Hollar’s 1650 etching of Leonardo’s Salvator Mundi, which, he stated, was made from the original painting. Can we identify Hollar’s model, and on what basis did he attribute it to Leonardo? From a comparison with the closest extant compositions—the Cook, Naples, and Ganay paintings—the chapter examines the consonances and dissonances between the respective paintings and the etching. Since the Ganay painting has been championed (without acceptance) as Leonardo’s original, a history of the scholarly appraisal of this painting, together with some clarifications of its pre-twentieth-century provenance, is presented here. Hollar’s etching is dated 1650, but the location of execution is not given. Can we pinpoint the location in 1650 of any of the prime contenders, and if so, can Hollar be placed in proximity? The chapter proposes that Hollar, perhaps acting for the agent of Cardinal Mazarin, copied Leonardo’s Salvator Mundi at the Commonwealth Sale in 1650.
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