The iconography therefore recalls humanity's fall, its ensuing travails and its redemption through Christ's sacrifice. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. [15], The version of this painting often regarded as the most likely to be by Leonardo is now in the Scottish National Gallery in Edinburgh, on loan from the Duke of Buccleuch. It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, “Madonna of the Spindles”) is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo's workshop. The use of a sy… [11], The underdrawings of both the Buccleuch and Lansdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. Scholars disagree on whether Robertet received his painting or not. It is a great legacy of Da Vinci's workshop, and is now kept in the Soumaya Museum's Old Masters of Europe gallery. The contrast between light and shadow achieves an effect of volume and plasticity. Given its resemblance to Cesare da Sesto's Madonna, now in the Poldi Pezzoli Museum in Milan, Professor Martin Kemp suggested that this piece could be attributed to the Lombard painter. Using the latest advances in forensics and scientific analysis, as well as years of painstaking research, Leonardo scholars Martin Kemp and Thereza Wells collaborated in some of the most in-depth technical examinations ever carried out on an old The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo's hand. [30], The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. [27] The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. The change from one tone to another in the Virgin's face is so gradual that it is impossible to see exactly where each form ends. The original of this work by Da Vinci, of which there are many different versions, may have been lost, but a preliminary drawing of the Virgin Mary's face by the same artist is kept in Windsor, in the UK. [9] It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe: The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and Lansdowne Madonnas in all respects except that there is no basket in either painting. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's painted oeuvre, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. [5], In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. [29] During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand. La Virgen del Huso by Seguidor de Leonardo da VinciMuseo Soumaya.Fundación Carlos Slim. Some include the figure group in the middle ground visible in the Buccleuch and Lansdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. [4] The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question).
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