DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0017
Division II.—Drawings and Sketches.
13
^ch(f
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md Child
J Virgin.
ore.
reUa-
following
igure and
generally
122).
IGOEDl).
jddoviiietf:
isaccio,
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i finest in
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i and hon
MfelW
In the person of Leonardo da Vinci, during the years 1484-1489, the influence
of the Florentine School was communicated with powerful effect to that of
Milan, where a group of artists arose whose work was either profoundly modified
or else entirely inspired by the example of that great individuality. The
pictures, and especially the drawings, produced by the members of this imitative
group have been traditionally assigned, according to the attractive power
natural to a great name, to Leonardo himself; and criticism has but latley
begun to discriminate between them, with results which are still in many cases
open to discussion.
de’B*»
ythe®*
[nite du*
me at the
i dark-grey
i of studies
(see Mow,
»ht, andii
jy Lore®
Leonardo da VINCI.
Painter, engineer, musician, mathematician, architect, author, &c.; the most
universal genius of the Italian Renaissance: b. 1452, d. 1519: pupil of
Verr ' ’o: worked chiefly at Florence and Milan, and during his last
s in France.
tudy of the drapery of a kneeling figure.
Umber wash heightened with white, on dark grey-coloured linen.
From the Richardson, Reynolds, and Lawrence collections.
One of the best and most masterly of a considerable number of similar
studies, executed in the same materials, which are preserved in the
Louvre, Uffizi, Malcolm, Christchurch, and other collections, and are
commonly ascribed to Leonardo da Vinci. Some of them are certainly not
by his band: others are of so fine a quality, and show forms and a dispo-
sition ~ drapery so thoroughly his, that the attribution can hardly be
sted. To the latter class belongs the Louvre drawing aforesaid, as
ell as this from the Malcolm collection (M. 51).
. Profile study of the head of a warrior in fantastic armour.
Silver-point.
From the Lawrence collection.
This magnificent drawing, still full of the influence of his teacher Verroc-
chio, belongs to the early Florentine time of the great master, and shows
the energy and subtlety of his hand perhaps better than any other
example of the period (M. 38).
37. Sheet of studies, viz., a man draped blowing a trumpet into
the ear of another who is nude, and two draped men
seated.
Pen and bistre.
From the Lawrence collection.
These rapid sketches, also of the master’s Florentine time, are of identical
character with several extant for his unfinished picture of the Adoration
of the Magi at Florence (M. 42).
38. Sheet of sketches for an allegory of Victory.
Pen and bistre and bistre wash.
From the Desperet and Galichon collections.
A splendid example of the same period, full of the imaginative fire which
no other artist combined in an equal degree with scientific knowledge.
The action in the lower sketch, of placing a shield on a trophy, seems to
identify the figure as a Victory (M. 44).
39. Sheet of studies for a Virgin and Child with a kitten.
Pen and bistre.
From the Cerquozzi, Lawrence, and Woodburn collections.
A beautiful example of Leonardo’s early (Florentine) manner. On the back
of the sheet is a sketch for an emblematical figure of Chastity, with a
unicorn (B.M.).
co
13
^ch(f
^amedas
md Child
J Virgin.
ore.
reUa-
following
igure and
generally
122).
IGOEDl).
jddoviiietf:
isaccio,
the Virgin
i finest in
he slighter
i and hon
MfelW
In the person of Leonardo da Vinci, during the years 1484-1489, the influence
of the Florentine School was communicated with powerful effect to that of
Milan, where a group of artists arose whose work was either profoundly modified
or else entirely inspired by the example of that great individuality. The
pictures, and especially the drawings, produced by the members of this imitative
group have been traditionally assigned, according to the attractive power
natural to a great name, to Leonardo himself; and criticism has but latley
begun to discriminate between them, with results which are still in many cases
open to discussion.
de’B*»
ythe®*
[nite du*
me at the
i dark-grey
i of studies
(see Mow,
»ht, andii
jy Lore®
Leonardo da VINCI.
Painter, engineer, musician, mathematician, architect, author, &c.; the most
universal genius of the Italian Renaissance: b. 1452, d. 1519: pupil of
Verr ' ’o: worked chiefly at Florence and Milan, and during his last
s in France.
tudy of the drapery of a kneeling figure.
Umber wash heightened with white, on dark grey-coloured linen.
From the Richardson, Reynolds, and Lawrence collections.
One of the best and most masterly of a considerable number of similar
studies, executed in the same materials, which are preserved in the
Louvre, Uffizi, Malcolm, Christchurch, and other collections, and are
commonly ascribed to Leonardo da Vinci. Some of them are certainly not
by his band: others are of so fine a quality, and show forms and a dispo-
sition ~ drapery so thoroughly his, that the attribution can hardly be
sted. To the latter class belongs the Louvre drawing aforesaid, as
ell as this from the Malcolm collection (M. 51).
. Profile study of the head of a warrior in fantastic armour.
Silver-point.
From the Lawrence collection.
This magnificent drawing, still full of the influence of his teacher Verroc-
chio, belongs to the early Florentine time of the great master, and shows
the energy and subtlety of his hand perhaps better than any other
example of the period (M. 38).
37. Sheet of studies, viz., a man draped blowing a trumpet into
the ear of another who is nude, and two draped men
seated.
Pen and bistre.
From the Lawrence collection.
These rapid sketches, also of the master’s Florentine time, are of identical
character with several extant for his unfinished picture of the Adoration
of the Magi at Florence (M. 42).
38. Sheet of sketches for an allegory of Victory.
Pen and bistre and bistre wash.
From the Desperet and Galichon collections.
A splendid example of the same period, full of the imaginative fire which
no other artist combined in an equal degree with scientific knowledge.
The action in the lower sketch, of placing a shield on a trophy, seems to
identify the figure as a Victory (M. 44).
39. Sheet of studies for a Virgin and Child with a kitten.
Pen and bistre.
From the Cerquozzi, Lawrence, and Woodburn collections.
A beautiful example of Leonardo’s early (Florentine) manner. On the back
of the sheet is a sketch for an emblematical figure of Chastity, with a
unicorn (B.M.).
co