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He must have no more than a faithful portrait of its faces. Vasari, Le vite de’ più eccellenti pittori, scultori e architettori: con i ritratti loro et con l’aggiunta delle Vite de’ vivi & de’ morti dall’anno 1550 insino al 1567; con le tavole in ciascun volume, delle cose più notabili de’ ritratti, delle vite degli artefici, et dei luoghi dove sono l’opere loro, Firenze, 1568 G. Veltman, Prospettiva lineare e le dimensioni visuali della scienza e dell’arte, München, 1986 K. In the meantime, I am interested to know that the question of Cristofano was looked into, scientifically.It turns out that this portrait is recorded in 1600 in Florence, because the sister's husband of Leonardo, had given to Cardinal Salviati. Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, con annotazioni e commenti di G. Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, con nuove annotazioni e commenti di G. Now, what Art Historian can you find who has analysed the stylistic reasons for your attribution to Leonardo? For the attribution to be at all convincing, then this must be done.We now possess all the tools to determine the areas of attribution, we have a special filing cabinet where you can examine all the scientific studies on the paintings. See, the problem is chronological: the pigments used by Christopher, do not coincide with those used in the Lucan Portrait, who instead are of different origin and oldest.The modern equipment, are now able to establish with certainty even the proveninenze pigmentation, and this on the basis of deposits and their historical knowledge.Then in 1700, the same portrait is in the collection Amoretti in Florence. Research has also shown that the Lucan portrait is in the collection Francesco Melzi (That's why the lucan portrait is incredibly interesting). Scatozza Höricht, Il volto dei filosofi antichi, Napoli, 1986 I. Sukale, Sehen als Erkennen: wissenschaftliche Zeichnungen von Leonardo da Vinci, Konstanz, 1987 F. Because, to those who can see, the painting is plainly an average Post-Leonardo portrait. Does it not occur to you that Cristofano, or perhaps his teacher Allori may have used older paints at an earlier date in their career? The fur collar is better painted and assists to give solid form to the body. Dear Amanda you are just fanatic of the polemics, you do not make nothing nice service for wiki! He does not say "This is not a fake Leonardo painting". (It is a simple statement, supported by the investigation into the fabric of the artwork.)If this painting had the characteristics and the quality that confirmed that it was painted by Leonardo, then it would be the most important discovery since the discovery of the "St Jerome in the Wilderness".
2) the second question is historical: Cristofano, Leonardo has never seen, in fact.Given the age of the figure in the Lucan protrait, if it is indeed by Leonardo himself, then it must fall chronologically somewhere between the Portrait of a Musician (sometimes considerd a self-portrait) and the Mona Lisa.Its highly conservative lighting, its lack of contraposto, its lack of hands, its conservative 3/4 view, its lack of drama, lack of cast shadow, lack of bodily form, conservative treatment of hair all mean that it does not sit happily between the Musician and the Mona Lisa, or between the dynamic Lady with an Ermine, and the Musician. The Lucan Portrait is absolutely typical of a conservative, post-Leonardo, painting of the 1500s.Weit those, are the same that have been found in Lucan portrait.This too everybody can read in the scientific publications of the Museum of Ancient People of Lucania.