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Leonardo da Vinci.

The Poldi Pezzoli Museum presents from November 7th 2019 Leonardo and the Litta Madonna, an exhibition of last significance, about one of the most famed masterpieces of the State Hermitage Museum, which will make its exclusive return to Milan nearly 30 times since its last appearance in Italy.

This event takes place thanks to the support offered by the Bracco Foundation, the Main Partner, adjoined by the Regional Government of Lombardy and the Megacity of Milan. The exhibition, curated by Pietro. 

Marani and Andrea Di Lorenzo, with set-up design by Migliore Servetto Engineers and graphic design by Salvatore Gregorietti, is part of the public fests for the 5th centenary of Leonardo Da Vinci’s end, promoted and supported by the Italian Ministry of Culture and by the territorial commission for Milan and Lombardy. 

The show is also included in the Milano Leonardo500 program of events promoted by the Department of Culture of the Megacity of Milan.

Middle Years 1477-1499

After leaving the Verrocchio plant to set up his own, da Vinci began laying the root for his cultural heritage. Like his coevals, he concentrated on religious subjects, but he also took definition commissions as they came up. 

Over the coming five times or so, he produced several notable oils, including Madonna of the Carnation, Ginevra de ‘Benci, Benois Madonna, Adoration of the Magi, and St. Jerome in the Nature. The ultimate two pieces are untreated.

Leonardo da Vinci entered a commission to paint his”Adoration of the Magi” from Florence church elders who planned to use it as an altarpiece. This artwork is historically significant under the inventions da Vinci made that were unique among the art conventions of the 1480s. 

He centred the beginner and Christ child in the scene whereas former artists had placed them to one side. Da Vinci bettered on standard practices of perspective by making changes in clarity and colour as objects came decreasingly distant. Unfortunately, he didn’t complete the commission due to a better offer from the Duke of Milan to come to the resident artist at his court.

Influence of Leonardo da Vinci

Within the artworks created by his circle of peers, the influence of Leonardo da Vinci‘s workshop is readily apparent. Raphael and indeed eventually rival Michaelangelo took on the same of da Vinci’s hand ways to produce also active, anatomically realistic numbers.

His innovative breaks from the cultural norms of his day would guide generations of artists that followed. Although da Vinci painted the customary religious scenes of his period, similar as the Magi and the Madonna and child, his unique placement of crucial numbers, his hand ways and his advancements upon perspective were all already unheard of.

 In The Last Supper, how he insulated Christ at the centre of the scene and made each backer a separate reality, yet at the same time united them all at the moment, is a stroke of genius that later artists throughout history would strive to replicate.

Masterpieces of Leonardo da Vinci

Although da Vinci is known for his cultural capacities, smaller than two dozen oils attributed to his life. One reason is that his interests were so varied that he wasn’t a fat painter. Da Vinci’s most notorious workshops include the “ Vitruvian Man,” “ The Last Supper” and the “ Mona Lisa.”



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