LEONARDO DA VINCI 1452-1519

Antonello da MESSINA Messina, about 1430–Messina, 1479 Portrait of a Man, known as The Condottiere Oil on poplar panel Signed and dated on the label fixed to the parapet: 1475 In 1475, Sforza Maria Sforza, brother of Duke Galeazzo Maria Sforza, returned fromVenice with a portrait by Antonello da Messina; it was formerly suggested that this portrait was the one in question , but there is no evidence of this.The painter was invited to Milan, but de- clined the invitation. Nonetheless, Leonardo certainly had opportunities to admire da Messina’s portraits with their tight framing, powerful expressiveness, and the sharp realism made possible by the use of oil – aspects he developed in his portrait of The Musician. Department of Paintings, Musée du Louvre, Paris, MI 598 Infrared reflectogram of the Portrait of Cecilia Gallerani, known as Lady with an Ermine, by Leonardo da Vinci Oil on walnut panel. About 1485–1490 National Museum, Krakow This portrait depicts Cecilia Gallerani, who was the lover of the Duke of Milan Ludovico il Moro.The ermine she holds symbolises moderation, gentleness and courtesy. The infrared reflectogram allows us to see the initial brush-painted outlines of her dress, the changes made to the sleeves and the subtlety of the transitions from light to shade. © Courtesy of the National Museum in Krakow / Image acquired in the Laboratory of Analysis and Non-Destructive Investigation of Heritage Objects / Authors: Piotr Fr ą czek and Michał Obarzanowski 0 65 0 66 Antonello da MESSINA Messina, about 1430–Messina, 1479 Portrait of a Man, known as The Condottiere Oil on p plar pan l Signed and dated on the label fixed to the parapet: 1475 In 1475, Sforz Maria Sforza, brother f Duke Galeazzo Maria Sforza, returned fromVenice with a portrait by Antonello da Messina; it was formerly suggested that this portrait was the one in question , but there is no evidence of this.The painter was invited to Milan, but de- clined the invitation. Nonetheless, Leonardo certainly had opportunities to admire da Messina’s portraits with their tight framing, powerful expressiveness, and the sharp realism ade possible by the use of oil – aspects he developed in his portrait of The Musician. D partment of Paintings, Musée du Louvre, Paris, MI 598 Infrared reflectogram of the Portrait of Cecilia Gallerani, known as Lady with an Ermine, by Leon rdo da Vi ci Oil on walnut panel. About 1485–1490 National Museum, Krakow This portrait depicts Cecilia Gallerani, who was the lover of the Duke of Milan Ludovico il Moro.The ermine she holds symbolises moderation, gentleness and courtesy. The infrared reflectogram allows us to see the initial brush-painted outlines of her dress, the changes made to the sleeves and the subtlety of the transitions from light to shade. © Courtesy of th National Museum in Krakow / Image acquired in the Laboratory of Analysis and Non-Destructive Investigation of Heritage Objects / Authors: Piotr Fr ą czek and Mich ł Obarzanowski 0 65 0 66 f the Portrait of Cecilia Ga lerani, known as Lady w th an Ermine, by Leonardo da Vinci Oil on l t l. bo t – N tio l us , r k This portrait depicts Cecilia allerani, w o was the lover of the Duke of ilan Ludovico il oro.The er ine she holds symbolis s moderation, gentleness and courtesy. The infrared reflectogram allows us to see the initi l brush-painted outlin s of h r dress, the changes made to the sleeves and the subtlety of the transitions from light to shade. © Courtesy f the Nation l Museum in Krakow / Image acqu red in the Lab ratory f Analysis and Non-Destructive Inv stigation of Heritage Objects / Authors: Piotr F ą zek and Michał Obarz nowski