Archives

Leonardo Da Vinci’s St John the Baptist back on view

leonardo-da-vincis-st-john-the-baptist

Pre-restoration: Leonardo da Vinci’s St John the Baptist (1513-16)

Leonardo Da Vinci’s St John the Baptist (around 1513-16), a treasure of the Louvre Museum in Paris, is once again on view to the public from Wednesday, 9 November after a ten-month cleaning at C2RMF, the nearby restoration and research centre for French museums. The in-depth conservation, which was scrutinized by the media and specialists because of earlier restorations of Leonardo’s work at the museum, refreshes what was “probably the most varnished painting in the Louvre’s collection”, according to a press release.

While St John the Baptist had not been restored since 1802—shortly after it entered the Louvre’s collection—the painting had been regularly varnished since then. A primary objective of this restoration project has been to strip away around 15 layers of varnish that had yellowed and obscured the original painting’s subtleties and colour. Régina Moreira, who carried out the restoration of the painted material, also removed over-painting from previous restorations, including on the arms of the saint, his torso and the background. While the overall effect of the restoration is subtle, areas like the animal skin and Saint John’s curly hair are now more visible.

Leonardo’s hand.) One “particularly interesting” discovery was the presence of finely ground glass, sometimes used as a drying agent, in the darker layers of the work, since it was the most extensive use of this material in any work by the artist.

Art and accomplishment

Painting and drawing

Leonardo’s total output in painting is really rather small; only 17 of the paintings that have survived can be definitely attributed to him, and several of them are unfinished. Two of his most important works—the Battle of Anghiari and the Leda, neither of them completed—have survived only in copies. Yet these few creations have established the unique fame of a man whom Giorgio Vasari, in his seminal Lives of the Most Eminent Italian Architects, Painters and Sculptors (1550, 2nd ed., 1568), described as the founder of the High Renaissance. Leonardo’s works, unaffected by the vicissitudes of aesthetic doctrines in subsequent centuries, have stood out in all subsequent periods and all countries as consummate masterpieces of painting.

The many testimonials to Leonardo, ranging from Vasari to Peter Paul Rubens to Johann Wolfgang von Goethe to Eugène Delacroix, praise in particular the artist’s gift for expression—his ability to move beyond technique and narrative to convey an underlying sense of emotion. The artist’s remarkable talent, especially his keenness of observation and creative imagination, was already revealed in the angel he contributed to Verrocchio’s Baptism of Christ (c. 1472–75): Leonardo endowed the angel with natural movement, presented it with a relaxed demeanour, and gave it an enigmatic glance that both acknowledges its surroundings while remaining inwardly directed. In Leonardo’s landscape segment in the same picture, he also found a new expression for what he called “nature experienced”: he reproduced the background forms in a hazy fashion as if through a veil of mist.

In the Benois Madonna (1475–78) Leonardo succeeded in giving a traditional type of picture a new, unusually charming, and expressive mood by showing the child Jesus reaching, in a sweet and tender manner, for the flower in Mary’s hand. In his Portrait of Ginevra de’ Benci (c. 1480) Leonardo opened new paths for portrait painting with his singular linking of nearness and distance and his brilliant rendering of light and texture. He presented the emaciated body of his St. Jerome (unfinished; begun 1480) in a sobering light, imbuing it with a realism that stemmed from his keen knowledge of anatomy; Leonardo’s mastery of gesture and facial expression gave his Jerome an unrivalled expression of transfigured sorrow.

9662-004-23C39622Leonardo da Vinci: The Adoration of the MagiAlinari/Art Resource, New YorkThe interplay of masterful technique and affective gesture—“physical and spiritual motion,” in Leonardo’s words—is also the chief concern of his first large creation containing many figures, The Adoration of the Magi (begun 1481). Never finished, the painting nonetheless affords rich insight into the master’s subtle methods. The various aspects of the scene are built up from the base with very delicate, paper-thin layers of paint in sfumato (the smooth transition from light to shadow) relief. The main treatment of the Virgin and Child group and the secondary treatment of the surrounding groups are clearly set apart with a masterful sense of composition—the pyramid of the Virgin Mary and Magi is demarcated from the arc of the adoring followers. Yet thematically they are closely interconnected: the bearing and expression of the figures—most striking in the group of praying shepherds—depict many levels of profound amazement.

26319-004-1D28A47CLeonardo da Vinci: The Virgin of the RocksGiraudon/Art Resource, New YorkThe Virgin of the Rocks in its first version (1483–86) is the work that reveals Leonardo’s painting at its purest. It depicts the apocryphal legend of the meeting in the wilderness between the young John the Baptist and Jesus returning home from Egypt. The secret of the picture’s effect lies in Leonardo’s use of every means at his disposal to emphasize the visionary nature of the scene: the soft colour tones (through sfumato), the dim light of the cave from which the figures emerge bathed in light, their quiet attitude, the meaningful gesture with which the angel (the only figure facing the viewer) points to John as the intercessor between the Son of God and humanity—all this combines, in a patterned and formal way, to create a moving and highly expressive work of art.

Last years (1513–19)

In 1513 political events—the temporary expulsion of the French from Milan—caused the now 60-year-old Leonardo to move again. At the end of the year, he went to Rome, accompanied by his pupils Melzi and Salai as well as by two studio assistants, hoping to find employment there through his patron Giuliano de’ Medici, brother of the new pope, Leo X. Giuliano gave him a suite of rooms in his residence, the Belvedere, in the Vatican. He also gave Leonardo a considerable monthly stipend, but no large commissions followed. For three years Leonardo remained in Rome at a time of great artistic activity: Donato Bramante was building St. Peter’s, Raphael was painting the last rooms of the pope’s new apartments, Michelangelo was struggling to complete the tomb of Pope Julius II, and many younger artists, such as Timoteo Viti and Sodoma, were also active. Drafts of embittered letters betray the disappointment of the aging master, who kept a low profile while he worked in his studio on mathematical studies and technical experiments or surveyed ancient monuments as he strolled through the city. Leonardo seems to have spent time with Bramante, but the latter died in 1514, and there is no record of Leonardo’s relations with any other artists in Rome. A magnificently executed map of the Pontine Marshes suggests that Leonardo was at least a consultant for a reclamation project that Giuliano de’ Medici ordered in 1514. He also made sketches for a spacious residence to be built in Florence for the Medici, who had returned to power there in 1512. However, the structure was never built.

 

Perhaps stifled by this scene, at age 65 Leonardo accepted the invitation of the young King Francis I to enter his service in France. At the end of 1516 he left Italy forever, together with Melzi, his most devoted pupil. Leonardo spent the last three years of his life in the small residence of Cloux (later called Clos-Lucé), near the king’s summer palace at Amboise on the Loire. He proudly bore the title Premier peintre, architecte et méchanicien du Roi (“First painter, architect, and engineer to the King”). Leonardo still made sketches for court festivals, but the king treated him in every respect as an honoured guest and allowed him freedom of action. Decades later, Francis I talked with the sculptor Benvenuto Cellini about Leonardo in terms of the utmost admiration and esteem. For the king, Leonardo drew up plans for the palace and garden of Romorantin, which was destined to be the widow’s residence of the Queen Mother. But the carefully worked-out project, combining the best features of Italian-French traditions in palace and landscape architecture, had to be halted because the region was threatened with malaria.

Leonardo did little painting while in France, spending most of his time arranging and editing his scientific studies, his treatise on painting, and a few pages of his anatomy treatise. In the so-called Visions of the End of the World, or Deluge, series (c. 1514–15), he depicted with overpowering imagination the primal forces that rule nature, while also perhaps betraying his growing pessimism.

Leonardo died at Cloux and was buried in the palace church of Saint-Florentin. The church was devastated during the French Revolution and completely torn down at the beginning of the 19th century; his grave can no longer be located. Melzi was heir to Leonardo’s artistic and scientific estate.

Second Milanese period (1508–13)

Second Milanese period (1508–13)

In May 1506 Charles d’Amboise, the French governor in Milan, asked the Signoria in Florence if Leonardo could travel to Milan. The Signoria let Leonardo go, and the monumental Battle of Anghiari remained unfinished. Unsuccessful technical experiments with paints seem to have impelled Leonardo to stop working on the mural; one cannot otherwise explain his abandonment of this great work. In the winter of 1507–08 Leonardo went to Florence, where he helped the sculptor Giovanni Francesco Rustici execute his bronze statues for the Florence Baptistery, after which time he settled in Milan.

Honoured and admired by his generous patrons in Milan, Charles d’Amboise and King Louis XII, Leonardo enjoyed his duties, which were limited largely to advice in architectural matters. Tangible evidence of such work exists in plans for a palace-villa for Charles, and it is believed that he made some sketches for an oratory for the church of Santa Maria alla Fontana, which Charles funded. Leonardo also looked into an old project revived by the French governor: the Adda canal that would link Milan with Lake Como by water.

During this second period in Milan, Leonardo created very little as a painter. Again Leonardo gathered pupils around him. Of his older disciples, Bernardino de’ Conti and Salai were again in his studio; new students came, among them Cesare da Sesto, Giampetrino, Bernardino Luini, and the young nobleman Francesco Melzi, Leonardo’s most faithful friend and companion until the artist’s death.

An important commission came Leonardo’s way during this time. Gian Giacomo Trivulzio had returned victoriously to Milan as marshal of the French army and as a bitter foe of Ludovico Sforza. He commissioned Leonardo to sculpt his tomb, which was to take the form of an equestrian statue and be placed in the mortuary chapel donated by Trivulzio to the church of San Nazaro Maggiore. After years of preparatory work on the monument, for which a number of significant sketches have survived, the marshal himself gave up the plan in favour of a more modest one. This was the second aborted project Leonardo faced as a sculptor.

Leonardo’s scientific activity flourished during this period. His studies in anatomy achieved a new dimension in his collaboration with Marcantonio della Torre, a famous anatomist from Pavia. Leonardo outlined a plan for an overall work that would include not only exact, detailed reproductions of the human body and its organs but would also include comparative anatomy and the whole field of physiology. He even planned to finish his anatomical manuscript in the winter of 1510–11. Beyond that, his manuscripts are replete with mathematical, optical, mechanical, geological, and botanical studies. These investigations became increasingly driven by a central idea: the conviction that force and motion as basic mechanical functions produce all outward forms in organic and inorganic nature and give them their shape. Furthermore, he believed that these functioning forces operate in accordance with orderly, harmonious laws.