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E*La ScapigliataThe Lansdowne MadonnaLondon VersionLouvre v1Buccleuch1XU{""0@,#P  kn}C Presumed Finished3Unf)p` Y ""0$#Beeswaxd@dW!W1 MWRa0?1k.B)%!No D(3.["dY        0Trois crayons (black, red and white chalk), heightened with pen&ink on vellum, laidoak panelBU*XN, yellow pastelc5Rpaper1) sanguine,q,nFwash.bronze,@greeFtinaCharcoal, AbtintedvQ, mouon canvasEarth, amber?1lea%0woo<nelOil (underpainting)_ !Rptemperabpoplar#@vQotton6() aparque=iwalnut0J  (transfer#tolater re-C)U/, DP)ver metalpointRT$0o on gesso, pitchgmastic"plasteriW ""0(# v  D#Sl_. >KZj y   /?N \iwz$    103 × 75 cm980217141.5 x 104.6 cm16 1112 77 × 151A89.5 20"99L!12, 24IN028 .<2;246 x 243#3 x 9 cm30. 22 cm and 303R3.933&13`x 25.5B#8.136."42 33#452460188008.9036.449./=C50.2b4 cm54= 39< 61!466u!447PAcm65!45G6:5$76153.f`A"" @"A #0t{Ic?p@ KW30WT 0@0_ PWW D=l1|1]u]$$-T2W(}tF Nd T(@i?p0?.=?4 ?v?Ie9:?;On?Ԛ?lɪ?` c?D?R!u?e`TR'? +?d?@a+?[| ?Q?/r?&u?c]F@x&1@ h"l@gDio@~8gD@= ףp=D@#p.A    KJ^0 ""0p1# Abu DhabiS _1LDT$2W8 !*28>CINSa fr DI{^gy0l&|EWashington, D.C.BudapestEdinburghFlorenceKrakowLondonMilanMunichParisParmaSt. Peters8TurinVatican CityVenice4[ ""0`.#pEngland Vatican City8|P@ W 5Wl: ',28@T )D)jAFTAy0lc FranceGermanyHungaryItalyPoRussiaScotUnited Arab Emirates St of Americaj\3P ""0$# _  T d     LP AP7:Lg~%,D ]jQ7      Alte PinakothekVatican MuseumsBudapest+ of Fine ArtsCastello SforzescoGalleria nazionale di Parmae dell'AccademiaLouvre Abu DhabiNat? 6y5Artcoteca AmbrosianaPrivate CollecWWRoyal. ($)%RLibraoTurinSanta Mae GrazieScottish The HermitageUffizip ""0@0#P  _  9_Q9T! ^CollaborationUniversally acceptedGener;Pa|""0@0#P0 G_ ]8_P8   P Leonardo and an unknown artistVerrocchi -B@ ""0`1#pMarani[_q_0 @ T ( !&4Jg|!eEfT`fPh9taRlZöllner, Sysona, Kemp  ", /R  VB`w VCP}HyperDB>TDU,7RJ<{"compressionMethod": "lz4", "databases": {"dropped": true}, "namespaces": [{"oid": 10001, "name": "public", "owner": 0, "dependencies": [], "reverseDependencies": []}], "roles": [{"oid": 10002, "name": "", "owner": 0, "dependencies": [], "reverseDependencies": [], "superuser": false, "createdb": false, "createrole": false, "inherit": true, "login": false, "replication": false, "hasPassword": false, "encrypted": true, "connlimit": 4294967295, "validUntil": 0, "password": "", "memberOf": [], "adminOf": []}, {"oid": 10003, "name": "tableau_internal_user", "owner": 0, "dependencies": [], "reverseDependencies": [], "superuser": true, "createdb": false, "createrole": false, "inherit": true, "login": true, "replication": false, "hasPassword": false, "encrypted": true, "connlimit": 4294967295, "validUntil": 0, "password": "", "memberOf": [], "adminOf": []}], "relations": [], "externaltables": [], "views": [], "functions": [], "types": []}!&P0P@ 0@zHt0 '  D '_ 7h5TH(p y !  '     Beeswax model intended to be used in creating a lifesize sculpture commissioned by the Governor of Milan, Charles II d'Amboise, who was in office from 1503-1511Underdrawing believed to be by LeonardoConsidered by most historians to be the earlier of the two versions.First published as a Leonardo in 1889 and subject to wide disagreement, but now generally accepted. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting. The subject has been identified as Cecilia Gallerani.Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others.  Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both. The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this supportMay have been cast following Leonardo's death in 1519Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.On 9 February 1498 Luca Pacioli described the mural as being complete.Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo.  It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.Previously presumed to be a later copy of the lost original painting. Purchased in 2005 and restored, it has gained acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere which are indicators of the painting's status as an "original".  The painting set a new record for sale price (US$450 million) when auctioned by Christie's in 2017.The "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.Two fragments of Leonardo’s decorative scheme for this room were rediscovered in the late 19th century; they were covered over as they were thought not to be by his hand and were rediscovered again in 1954._)p@"* @#@"          $ ! $      $$  4->D@l> $$&'(/Ꭲ|@8@2 jD84@@@P@g<p  @0 9F L@7 O@0P@0@@3 =HN@ M@P@@2P4ӔF