The Last Leonardo

The Last Leonardo
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In 2017 the Salvator Mundi was sold at auction for $450m. But is it a real da Vinci? In a thrilling narrative built on formidable research, Ben Lewis tracks the extraordinary journey of a masterpiece lost and found, lied and fought over across the centuries.In 2017, Leonardo da Vinci’s small oil painting, the Salvator Mundi was sold at auction for $450m. In the words of its discoverer, the image of Christ as saviour of the world is ‘the rarest thing on the planet by the greatest human being who ever lived’. Its dazzling price also makes it the world’s most expensive painting.For two centuries art dealers had searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi by Leonardo da Vinci. Many similar paintings of greatly varying quality had been executed by Leonardo’s assistants in the first half of the sixteenth century. But where was the original by the master himself?In November 2017, Christie’s auction house announced they had it. But did they? The Last Leonardo tells a thrilling tale of a spellbinding icon invested with the power to make or break the reputations of scholars, billionaires, kings and sheikhs. Lewis takes us to Leonardo’s studio in Renaissance Italy; to the court of Charles I and the English Civil War; to Holland, Moscow and Louisiana; to the galleries, salerooms and restorer’s workshop as the painting slowly, painstakingly, emerged from obscurity. The vicissitudes of the highly secretive art market are charted across five centuries. It is a twisting tale of geniuses and oligarchs, double-crossings and disappearances, where we’re never quite certain what to believe. Above all, it is an adventure story about the search for lost treasure, and a quest for the truth.

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Ben Smith Lewis. The Last Leonardo

Copyright

Contents

Epigraphs

LEONARDO DA VINCI

SIR KENNETH CLARK

ITALO CALVINO

PROLOGUE. The Legend of Leonardo

CHAPTER 1. Flight to London

CHAPTER 2. The Walnut Knot

CHAPTER 3. Buried Treasure

CHAPTER 4. Paper, Chalk, Lapis

CHAPTER 5. Zing!

CHAPTER 6. The Blue Clue

CHAPTER 7. Vinci, Vincia, Vinsett

CHAPTER 8. The King’s Painting

CHAPTER 9. Little Leonardos

CHAPTER 10. The Salvator Switch

CHAPTER 11. The Resurrection

CHAPTER 12. Lost in a Crowd

CHAPTER 13. The High Council

CHAPTER 14. Entertainer and Engineer

CHAPTER 15. The Greatest Show on Earth

CHAPTER 16. Look, Cook Forsook

CHAPTER 17. Offshore Icon

CHAPTER 18. LDV RIP

CHAPTER 19. Nineteen Minutes

CHAPTER 20. There is a House in New Orleans

CHAPTER 21. Mirage in the Desert

CHAPTER 22. Fragile State

Afterword

Picture Section

Acknowledgements

Notes. CHAPTER 1: FLIGHT TO LONDON

CHAPTER 2: THE WALNUT KNOT

CHAPTER 4: PAPER, CHALK, LAPIS

CHAPTER 5: ZING!

CHAPTER 6: THE BLUE CLUE

CHAPTER 7: VINCI, VINCIA, VINSETT

CHAPTER 8: THE KING’S PAINTING

CHAPTER 9: LITTLE LEONARDOS

CHAPTER 10: THE SALVATOR SWITCH

CHAPTER 11: THE RESURRECTION

CHAPTER 12: LOST IN A CROWD

CHAPTER 13: THE HIGH COUNCIL

CHAPTER 14: ENTERTAINER AND ENGINEER

CHAPTER 15: THE GREATEST SHOW ON EARTH

CHAPTER 16: LOOK, COOK FORSOOK

CHAPTER 17: OFFSHORE ICON

CHAPTER 18: LDV RIP

CHAPTER 19: NINETEEN MINUTES

CHAPTER 20: THERE IS A HOUSE IN NEW ORLEANS

CHAPTER 21: MIRAGE IN THE DESERT

AFTERWORD

Bibliography

Index

About the Author

About the Publisher

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When Leonardo turned to The Last Supper, a commission for the dining hall of a Milanese convent, he was dealing with an established biblical narrative, in which gestures and facial expressions had long conveyed story and drama. However, he ratcheted up the excitement and action to new levels. He depicted the moment of greatest antagonism, when Christ tells his disciples, ‘One of you will betray me.’ Their reactions create an undulating wave of emotions on either side of Christ – postures and faces showing surprise, shock, denial (from Judas, clutching a bag of money), shame, anxiety, argument, and even fainting. ‘The painter who wants to have honour in his work,’ wrote Leonardo, ‘must always find the imprint of his work in the natural, spontaneous acts of men, born from the strong and sudden revelation of feelings, and from those make brief sketches in his notebook, and then use them for his purpose.’

In the 1490s Leonardo began to write and draw entries in his notebooks, of which only a quarter are estimated to have survived. These codices and manuscripts constitute one of the most important historical archives of all time, a cross-section of the European intellect and imagination at the doorstep of a new world of discovery and experiment, and proof that Leonardo possessed one of the most active and analytical minds of all time, ‘undoubtedly the most curious man who ever lived’, as Kenneth Clark called him.

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