The da Vinci Legacy
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Оглавление
Jean-Pierre Isbouts. The da Vinci Legacy
Introduction
Leonardo in Amboise
The Manor of Cloux
The Legacy of Leonardo’s Studio
The Renaissance Studio
Leonardo’s First Milanese Studio
The Primacy of Drawing
The Interlude of 1499–1506
Leonardo’s Second Milanese Studio
Leda and the Swan
The Trinity of Saint Anne
The Leonardeschi after Leonardo
Giampietrino
Giovanni Antonio Boltraffio
Bernardino Luini
Andrea Solario
Marco d’Oggiono
Gian Giacomo Caprotti, or Salaì
Francesco Melzi
The Leonardeschi: An Assessment
Leonardo and the Artists of the High Renaissance
Raphael
Michelangelo
Andrea del Sarto
Giorgione
Correggio
Leonardo in the Literature of the 16th Century
Paolo Giovio
Anonimo Gaddiano
Giorgio Vasari
Other References in 16th-Century Literature
The Leonardo Legend and the Art of Engraving
Last Supper Prints in Italy
The Last Supper in Northern Europe
The Mona Lisa and the Last Supper in the Baroque Era
The Mona Lisa Original in France
The Last Supper in the Baroque Era
The Dutertre Commission
Leonardo’s Legacy in the 19th Century
The Mona Lisa in the 19th Century
The Era of French Academic Painting
Leonardo da Vinci in the 20th Century
European Art after World War I
European Art During World War II
The Postwar Art Scene
The Mona Lisa after World War II
The Legacy of Leonardo
The Auction of the Salvator Mundi
Acknowledgments
Отрывок из книги
HOW AN ELUSIVE 16TH-CENTURY ARTIST BECAME A GLOBAL POP ICON
JEAN-PIERRE ISBOUTS and CHRISTOPHER HEATH BROWN
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Of all of the Leonardeschi, Giampietrino’s is perhaps the most consistent and recognizable style, deeply beholden to Leonardo, particularly in the execution of atmosphere and emotional expression. This is also true of his full-length painting of the Nymph Egeria, now in the Brivio-Sforza collection in Milan, which appears to portray the same model who sat for the Kassel Leda and the Swan. On this basis, some historians have argued that the Kassel painting should be dated around 1510.
Giampietrino, Leda and the Swan, ca. 1506–1510
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