LEONARDO DA VINCI 1452-1519

Leonardo da VINCI Vinci, 1452–Amboise, 1519 067 Portrait of a Lady from the Court of Milan, known as La Belle Ferronnière Oil on walnut panel About 1490–1497 This portrait was wrongly associated by Ingres with the name of a mistress of the French king François I.The sitter has been identified by art historians as Beatrice d’Este (Ludovico il Moro’s wife), Lucrezia Crivelli (his mistress in 1495), or Isabella of Aragon, wife of the rightful Duke of Milan Gian Galeazzo Sforza.This work by Leonardo revolutionised the female portrait genre, introducing dynamic movement, more accurately rendered articula- tions and an elusive gaze while conveying an impression of intelligence, willpower and, above all, consciousness. Department of Paintings, Musée du Louvre, Paris, MI 598 Infrared reflectogram of the Portrait of a Lady from the Court of Milan, known as La Belle Ferronnière, by Leonardo da Vinci Oil on walnut panel. About 1483–1490 Musée du Louvre, Paris The reflectogram reveals alterations (pentimenti) to the sitter’s outfit and necklace.The face is fuller here than in the final version, in which it is sculpted by the chiaroscuro of Leonardo’s sfumato technique.The rough sketch of the (probably unfinished) parapet is also visible. © C2RMF / Elsa Lambert 0 67 0 68 Leonardo da VINCI Vinci, 1452–Amboise, 1519 067 Portrait of a Lady from the Court of Milan, known s La Belle Ferronnière Oil on walnut panel About 1490–1497 This portrait was wrongly associated by Ingres with the name of a mistress of the French king François I.The sitter has been identified by art historians as Beatrice d’Este (Ludovico il Moro’s wife), Lucrezia Crivelli (his mistress in 1495), or Isabella of Aragon, wife of the rightful Duke of Milan Gian Galeazzo Sforza.This work by Leonardo revolutionised the female portrait genre, introducing dynamic movement, more accurately rendered articula- tions and an elusive gaze while conveying an impression of intelligence, willpower and, above all, consciousness. Department of Paintings, Musée du Louvre, Paris, MI 598 Infrared reflectogram of the Portrait of a Lady from the Court Milan, known s La Belle Ferronnière, by Leo ard da Vinci Oil on walnut panel. About 1483–1490 Musée du Louvre, Paris The r flectogram reveals alterations (pentimenti) to the sitter’s outfit and necklace.The face is fuller here than in the final version, in which it is sculpted by the chiaroscuro of Leonardo’s sfumato technique.The rough sketch of the (probably unfinished) parapet is also visible. © C2RMF / Elsa Lambert 0 67 0 68