Misplaced Pages

#493506

25-557: Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono ; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta , a Milanese noble family in whose collection it was for much of the nineteenth century. The Madonna Litta might be one of

50-633: A brief period. In 1516 or 1517, Leonardo joined the court of Francis I of France . Coincidentally, a Flemish portrait painter, Joos van Cleve , also was summoned to the French court, where he painted the king, queen, and other courtiers. It is thought that Joos van Cleve had spent some time in Italy as well as France on this trip. Like Quentin Massys, a fellow artist of Antwerp , Joos van Cleve appropriated some themes and techniques of Leonardo da Vinci. Often, Joos van Cleve

75-604: A letter to Ludovico in 1496 Leonardo claimed that he was having to maintain six people at the time. Along with these original pupils, during his second stay in Milan in 1508 Leonardo had relationships with other Milanese artists, such as Il Sodoma (Giovanni Antonio Bazzi), Giovanni Francesco Rustici , and young Francesco Melzi , whose parents had a manor house at Vaprio , Milan. Such artists as Giampietrino , Bernardino Lanino , Cesare da Sesto , Cesare Magni , Martino Piazza da Lodi , and Bernardino Luini are also regarded as members of

100-639: A pupil for the composition of the Madonna Litta , which the master Leonardo then 'corrected' with the drawing in the Louvre. The painting was repainted by an artist other than Leonardo in Milan around 1495. It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543: There

125-753: A study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as

150-718: A wealthy notary. In 1472, Leonardo joined the Guild of St Luke and eventually, he qualified as a master by this important guild. Leonardo left the studio of del Verrocchio in late 1477 as an independent artist, working on commissions. Leonardo continued to live in the same quarters as del Verrocchio, however, and they collaborated on some projects. Leonardo's father enabled him to set up his own studio. In 1482, Leonardo visited Milan where he stayed with Giovanni Ambrogio de Predis , Evangelista de Predis, and their four brothers, all of whom were artists of different kinds. Both Ambrogio and Evangelista are known for having collaborated with Leonardo in

175-557: Is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished. The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea , and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona. In 1784,

200-578: Is believed that Quentin Matsys had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists. His Madonna and Child with the Lamb , inspired by Leonardo's The Virgin and Child with Saint Anne , and A Grotesque Old Woman (or The Ugly Duchess ), show the influence of Leonardo. This is regarded as evidence that Matsys was greatly influenced by Italian Renaissance artists and that he most likely travelled to Italy, at least for

225-679: Is called the Leonardo of the North . Paintings by the Italian Renaissance artists Giampietrino ( Madonna of the Cherries ) and Marco d'Oggiono ( The Holy Infants Embracing ), both assistants in the workshop of Leonardo da Vinci, were a major influence on the Antwerp master. Joos van Cleve produced numerous versions of his own paintings after these models, adapting them to his own style and so creating some of

250-592: Is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre . There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying

275-574: The Hermitage Museum , where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas , when it was again repainted. That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono

SECTION 10

#1732851877494

300-412: The Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist. Several drawings have been identified as preparatory to the Madonna Litta . One, which

325-460: The article wizard to submit a draft for review, or request a new article . Search for " Alberico Barbiano di Belgiojoso " in existing articles. Look for pages within Misplaced Pages that link to this title . Other reasons this message may be displayed: If a page was recently created here, it may not be visible yet because of a delay in updating the database; wait a few minutes or try

350-680: The Baptist in his composition of Madonna with the Siskin in 1506, which was not familiar to Venetian art at the time). Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael , Giovanni Bellini , and—mainly through Lorenzo di Credi—Leonardo da Vinci. It

375-621: The German artist Albrecht Dürer traveled to Venice . In Bologna Dürer was taught the principles of linear perspective (possibly by Luca Pacioli or Donato Bramante ), and evidently he became familiar with Leonardo's geometrical construction of shadows technique. Several Dürer engravings show a clear interest in the works of Leonardo; for example The Small Horse is based upon the Sforza Horse by Leonardo. During his second stay in Venice Dürer

400-630: The circle of Leonardo, while Giovanni Antonio Boltraffio, Marco d'Oggiono, Giampietrino and Cesare da Sesto are represented as pupils in the monument to Leonardo by sculptor Pietro Magni (1872) in Piazza della Scala , Milan. During the first decades of the sixteenth century a number of Spanish painters visited Florence. Fernando Yáñez de la Almedina and Hernando de los Llanos are documented as collaborators with Leonardo on The Battle of Anghiari . Both artists continued their artistic association upon returning to Spain. In 1494–1495 and again in 1505–1507,

425-530: The drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies. A further related drawing in the Metropolitan Museum of Art , attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by

450-521: The drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt. Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio . One,

475-515: The earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso  [ it ] from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for

500-1323: The most successful compositions of the time in northern Europe. His son, Cornelis van Cleve , continued an artistic interest in Leonardo, producing several copies of his father's work and the Madonna of the Yarnwinder . Alberico Barbiano di Belgiojoso Look for Alberico Barbiano di Belgiojoso on one of Misplaced Pages's sister projects : [REDACTED] Wiktionary (dictionary) [REDACTED] Wikibooks (textbooks) [REDACTED] Wikiquote (quotations) [REDACTED] Wikisource (library) [REDACTED] Wikiversity (learning resources) [REDACTED] Commons (media) [REDACTED] Wikivoyage (travel guide) [REDACTED] Wikinews (news source) [REDACTED] Wikidata (linked database) [REDACTED] Wikispecies (species directory) Misplaced Pages does not have an article with this exact name. Please search for Alberico Barbiano di Belgiojoso in Misplaced Pages to check for alternative titles or spellings. You need to log in or create an account and be autoconfirmed to create new articles. Alternatively, you can use

525-609: The painting as a Boltraffio. Footnotes Citations Leonardeschi The Leonardeschi were the large group of artists who worked in the studio of, or under the influence of, Leonardo da Vinci . They were artists of Italian Renaissance painting , although his influence extended to many countries within Europe. As a teenager, Leonardo was enrolled as an apprentice in the studio of Andrea del Verrocchio in Florence by his father, Ser Piero di Antonio di Ser Piero di Ser Guido da Vinci,

SECTION 20

#1732851877494

550-891: The painting of the Virgin of the Rocks for the altarpiece in the chapel of the Confraternity of the Immaculate Conception at the Church of San Francesco Grande in Milan. In 1490, Leonardo earned recognition and a breakthrough at the court of Ludovico Sforza , and because of the scale of works commissioned he was permitted to have assistants and pupils in his own studio. Among Leonardo's pupils at this time were Giovanni Antonio Boltraffio , Ambrogio de Predis, Bernardino de' Conti , Francesco Napoletano , Andrea Solario , Marco d'Oggiono , and Salaì (also known as Giacomo Caprotti or Andrea Salaino). In

575-742: The paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period ( c. 1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus ) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in

600-520: Was influenced by Leonardo's cartoon of Christ among the Doctors , which was commissioned by Isabella d'Este . Dürer produced a painted version of the subject , now in the Museo Thyssen-Bornemisza , Madrid . This is the only painting of Dürer's that was directly influenced by Leonardo, however, Dürer introduced new subjects developed by Leonardo in his art (e.g. the figure of the young Saint John

625-572: Was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan". Kemp said in 2017 that he regarded

#493506