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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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0004
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 3 looks at the iconography of the image now called the Salvator Mundi, though this is not a name used at the time for images of Christ blessing and holding the globe of the world. Texts from the gospels of St Matthew and St John portray Christ as the benign comforter of the world’s inhabitants. The bands across Christ’s chest evoke the ‘yoke’ that the biblical Christ invites us to take up. The orb appears in Renaissance paintings in many guises, including metal spheres and terrestrial globes. The genre grew in popularity in the fifteenth century, not least in emulation of images by Jan van Eyck and Rogier van der Weyden. The stock frontal presentation of Christ related to a supposed eyewitness account and miraculous images made without human intervention. The direct stare is explained by Cusanus (Nicholas of Cusa) as expressing the ubiquitous nature of God’s gaze. There are also less common variants of the Salvator Mundi as a young Christ.
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0006
Margaret Dalivalle, Martin Kemp, R. B. Simon
Chapter 5 reviews the visual evidence on the basis of the stripped picture before the infilling of lost areas of paint. Pentimenti are apparent, most conspicuously in the repositioning of the thumb of the blessing hand. Infrared reflectography reveals detailed changes in the drapery and a few spolveri which indicate the use of a cartoon and shows the use of Leonardo’s hand-print method to soften the modelling of flesh. The vortex curls and the understated anatomy of the hands are typical of Leonardo’s post-1500 style, as is the insistent blurring of the contours of the face. The interlace pattern of the textile bands is founded on an angular geometry of the Islamic kind and reflects Leonardo’s visit to Venice in 1500. The transparent orb is of rock crystal and is marked by gaps or ‘inclusions’, exhibiting optical effects of the kinds that fascinated him, not least the translucency of semi-precious minerals. The crystal orb refers in an innovative way to the crystalline sphere of the fixed stars, thus transforming Christ from the saviour of the world to the saviour of the cosmos. The other optical effect in the painting involves his notions of the working of the eye, with the hands shown more definitely than Christ’s face, akin to a ‘depth of field’ effect in photography. The optical softening of features also acts to render his emotional impact as suggestive and ineffable rather than overtly defined.
{"title":"Visual Magic","authors":"Margaret Dalivalle, Martin Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0006","url":null,"abstract":"Chapter 5 reviews the visual evidence on the basis of the stripped picture before the infilling of lost areas of paint. Pentimenti are apparent, most conspicuously in the repositioning of the thumb of the blessing hand. Infrared reflectography reveals detailed changes in the drapery and a few spolveri which indicate the use of a cartoon and shows the use of Leonardo’s hand-print method to soften the modelling of flesh. The vortex curls and the understated anatomy of the hands are typical of Leonardo’s post-1500 style, as is the insistent blurring of the contours of the face. The interlace pattern of the textile bands is founded on an angular geometry of the Islamic kind and reflects Leonardo’s visit to Venice in 1500. The transparent orb is of rock crystal and is marked by gaps or ‘inclusions’, exhibiting optical effects of the kinds that fascinated him, not least the translucency of semi-precious minerals. The crystal orb refers in an innovative way to the crystalline sphere of the fixed stars, thus transforming Christ from the saviour of the world to the saviour of the cosmos. The other optical effect in the painting involves his notions of the working of the eye, with the hands shown more definitely than Christ’s face, akin to a ‘depth of field’ effect in photography. The optical softening of features also acts to render his emotional impact as suggestive and ineffable rather than overtly defined.","PeriodicalId":347013,"journal":{"name":"Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts","volume":"31 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":"126153828","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/9780198813835.003.0014
Margaret Dalivalle, Martin Kemp, Robert B. Simon
Chapter 13 examines the administration of the Commonwealth Sale and the identity and political activities of Capt. John Stone, leader of the Sixth Dividend, to whom a Salvator Mundi attributed to Leonardo da Vinci was disbursed on 23 October 1651. Stone, traditionally understood as a Royalist sympathizer, is unveiled as a member of Oliver Cromwell’s Council of State. The chapter reviews the fate of royal goods disbursed to Stone, their locations during the Interregnum, and the goods returned at the Restoration in 1660 from documentary evidence contained in a master inventory of goods disbursed to the Sixth Dividend between 1651–3 and Parliamentary papers. A ‘virtual inventory’ of goods belonging to the Sixth Dividend is provided in the Appendix.
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Pub Date : 2019-10-17DOI: 10.1093/oso/9780198813835.003.0008
Margaret Dalivalle, M. Kemp, R. B. Simon
Chapter 7 opens the third section of the book, which discusses the collecting and reception of Leonardo da Vinci in Stuart Britain. The chapter summarizes the key documentation, placing it in historical context. It focuses on the presence of two paintings of Christ, as Salvator Mundi, attributed to Leonardo da Vinci documented in the collection of King Charles I and Queen Henrietta Maria. It reviews the historical backdrop of seventeenth-century England, outlining the key documentation of the two paintings, and signals the central problems: how can we distinguish between these two paintings, and can they be identified? The chapter discusses the sale of the royal art collection, 1649–53, and its documentation, and introduces the individuals through whose hands the two paintings passed.
{"title":"‘A Peece of Christ done by Leonardo’ and ‘A lords figure. in halfe.’","authors":"Margaret Dalivalle, M. Kemp, R. B. Simon","doi":"10.1093/oso/9780198813835.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780198813835.003.0008","url":null,"abstract":"Chapter 7 opens the third section of the book, which discusses the collecting and reception of Leonardo da Vinci in Stuart Britain. The chapter summarizes the key documentation, placing it in historical context. It focuses on the presence of two paintings of Christ, as Salvator Mundi, attributed to Leonardo da Vinci documented in the collection of King Charles I and Queen Henrietta Maria. It reviews the historical backdrop of seventeenth-century England, outlining the key documentation of the two paintings, and signals the central problems: how can we distinguish between these two paintings, and can they be identified? The chapter discusses the sale of the royal art collection, 1649–53, and its documentation, and introduces the individuals through whose hands the two paintings passed.","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":"128984428","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}
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