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External links |
Media related to Leandro Bassano at Wikimedia Commons |
Leonaert Bramer, also Leendert or Leonard (24 December 1596 – before 10 February 1674 (date of burial)), was a Dutch painter known primarily for genre, religious, and history paintings. Very prolific as a painter and draftsman, he is noted especially for nocturnal scenes which show a penchant for exotic details of costume and setting. He also painted frescos—a rarity north of the Alps—which have not survived, as well as murals on canvas, few of which are extant. Bramer is one of the most intriguing personalities in seventeenth-century Dutch art. |
Life |
Bramer was born in Delft. In 1614, at the age of 18, he left on a long trip eventually reaching Rome in 1616, via Atrecht, Amiens, Paris, Aix (February 1616), Marseille, Genoa, and Livorno. In Rome he was one of the founders of the Bentvueghels group of Northern artists, and was nicknamed "Nestelghat" (Fidget). He lived with Wouter Crabeth and got into a fight with Claude Lorraine. He dedicated a poem to Wybrand de Geest. Bramer lived in Rome intermittently until October 1627, visiting Mantua and Venice, often for deliveries and to meet Domenico Fetti. In Italy Bramer acquired the sobriquet 'Leonardo della Notte' or 'Leonardo delle Notti' ('Leonardo of the night' or 'nights'). |
By 1628 he was back in Delft, where he joined the Guild of Saint Luke in 1629 and the schutterij. Among his many patrons were members of the House of Orange, but local burgomasters and schepen also bought his paintings in great numbers. He was a many sided artist, designing for tapestry firms in Delft, painting murals and ceilings, some of which are illusionistic in style. He painted real frescos in the Civic Guard house, the nearby stadholder's palaces in Honselersdijk, Rijswijk, the Communal Land Housde and the Prinsenhof in Delft. Due to the Dutch climate they no longer survive. In 1648 Bramer traveled to Rome for a second time. |
He evidently knew the greatest of his Delft contemporaries, Johannes Vermeer, as he came to the latter's defence when his future mother-in-law was trying to prevent him from marrying her daughter. |
On the evening of 4 April 1653, Leonaert Bramer, a Roman Catholic himself, and a Protestant sea captain, Bartholomeus Melling, called on Maria Thins. They had with them a Delft lawyer named Johannes Ranck. This party had come to convince Maria Thins that the young up-and-coming artist was a good match for her beloved daughter Catharina. Maria's sister was also present giving support and sympathy. "The visitors had come to ask Maria to sign a document permitting the marriage vows to be published. Maria replied that she would not sign such an act of consent. Despite this – a subtle distinction – she would put up with the vows being published: she said several times that she wouldn't stand in the way of this. In other words, she didn't welcome the marriage, but she wouldn't block it. |
It is possible that Vermeer received his artistic training from Bramer, although there is no documentation for this, and Bramer's dark and exotic style is unlike Vermeer's. |
A lifelong bachelor, Bramer remained very productive until his death, which occurred in his home town of Delft in 1674. |
Work |
Bramer showed in his choice of subjects a preference for Italian rather than Dutch artistic practice. His subjects are usually mythological, allegorical, historical or biblical scenes (such as the Denial of St Peter, Rijksmuseum, Amsterdam). He stayed away from typical Dutch themes such as landscapes, still lifes, portraits and genre pieces and he rarely painted Italianate pastoral scenes popular with the Utrecht Caravaggisti. |
His style is nervous, but his technique, painting the reflection of light, is very good. His famous "Album Bramer" (drawn between 1642 and 1654, now in Leiden) contains many sketches after paintings in Delft collections. He was influenced by Adam Elsheimer and the fresco painter Agostino Tassi. Upon his death, his works were offered for sale in 1674 in an advertisement in the Haarlems Dagblad, probably necessary because of the (depressed) Dutch economy: |
May 3rd, 1674 |
Op Maendagh, den 7 Mey 1674. sal men tot Delft, op de St. Lucas Gilde-Kamer, verkoopen veel treffelijcke Schilderyen, en oock veel treffelijcke raere Kunst en Teyckeningen, soo op Paneel, Doeck als Kopere Platen, als oock verscheyde groote Boecken, vol Konst-werck: naergelaten van den vermaerden Schilder ende Teyckenaer Leendert Bramer Zal:. |
Translation: On Monday, the 7th of May 1674, the Guild of St. Luke in Delft shall sell many good paintings, and many good and rare art and drawings, on panel, canvas, and copper plates, as well as diverse large books, full of art work: left by the very respected painter and draftsman, the late Leendert Bramer. |
Among his drawings, probably the most puzzling set are those he titled "Straatwerken," meaning "street works." From his inventory it is clear that the Flemish merchant and art collector Gaspar Roomer who resided in Naples owned 1500 drawings by Bramer. |
Notes |
Sources |
Haak, B. (2003) Hollandse schilders in de Gouden Eeuw, p. 324. |
Bramer, L., & Goldsmith, J. T. B. (1994). Leonaert Bramer: 1596–1674; ingenious painter and draughtsman in Rome and Delft; [monografie bij de tentoonstelling gehouden te Delft, van 9 September – 13 November 1994]. Zwolle: Waanders. ISBN 9040097046 |
Liedtke, W. (2007) Dutch paintings in The Metropolitan Museum of Art, p. 87–89. |
Liedtke, W. A., Plomp, M., Rüger, A., Metropolitan Museum of Art (New York, N.Y.), & National Gallery (Great Britain). (2001). Vermeer and the Delft school. New York: Metropolitan Museum of Art. ISBN 0870999737 |
Rijksmuseum (Amsterdam). (2007). Dutch paintings of the seventeenth century in the Rijksmuseum Amsterdam: Vol. 1. (Dutch paintings of the seventeenth century in the Rijksmuseum Amsterdam.) Amsterdam: Rijksmuseum. ISBN 9789086890279 |
Vermeer, J., Duparc, F. J., Wheelock, A. K., Mauritshuis (Hague, Netherlands), & National Gallery of Art (U.S.). (1995). Johannes Vermeer. Washington: National Gallery of Art. ISBN 0300065582 |
Filippo Baldinucci's Artists in biographies by Filippo Baldinucci, 1610–1670, p. 197 Internet Archive |
External links |
Media related to Leonaert Bramer at Wikimedia Commons |
Leonardo Corona (1561–1605) was an Italian painter of the Renaissance period, active mainly in Venice. Born in Murano. For the church of Santi Giovanni e Paolo in Venice, he painted an Annunciation; while for Santo Stefano, he painted an Assumption. For San Giovanni in Bragora he painted a Coronation with Thorns and a Flagellation. He is said to have been a pupil of the elder Titian, and completed some of his canvases after the master's death. His pupils included Santo Peranda and Baldasarre Anna. |
References |
Secondary Sources |
Farquhar, Maria (1855). Ralph Nicholson Wornum (ed.). Biographical catalogue of the principal Italian painters. London: Woodfall & Kinder. p. 49. |
Works of Art Discovered in Venice, Alethea Wiel. The Burlington Magazine for Connoisseurs (1909) 15(78):p. 368-9. (On Corona works found in the rafters of San Zulian). |
Milizia, Francesco (1797). Dizionario delle Belle Arti del Disegno y Estratto in Gran Parte dalla Enciclopedia Metodica da Francesco Milizia, Seconda Edizione, Tomo Secondo. Bassano, Italy. pp. 145–146. |
== External links == |
Leonardo di ser Piero da Vinci (15 April 1452 – 2 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. While his fame initially rested on his achievements as a painter, he has also become known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and palaeontology. Leonardo is widely regarded to have been a genius who epitomised the Renaissance humanist ideal, and his collective works comprise a contribution to later generations of artists matched only by that of his younger contemporary Michelangelo. |
Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. |
Leonardo is identified as one of the greatest painters in the history of Western art and is often credited as the founder of the High Renaissance. Despite having many lost works and fewer than 25 attributed major works – including numerous unfinished works – he created some of the most influential paintings in the Western canon. The Mona Lisa is his best known work and is the world's most famous individual painting. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for US$450.3 million, setting a new record for the most expensive painting ever sold at public auction. |
Revered for his technological ingenuity, he conceptualised flying machines, a type of armoured fighting vehicle, concentrated solar power, a ratio machine that could be used in an adding machine, and the double hull. Relatively few of his designs were constructed or were even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. |
Biography |
Early life (1452–1472) |
Birth and background |
Leonardo da Vinci, properly named Leonardo di ser Piero da Vinci ("Leonardo, son of ser Piero from Vinci"), was born on 15 April 1452 in, or close to, the Tuscan hill town of Vinci, 20 miles from Florence. He was born out of wedlock to Piero da Vinci (Ser Piero da Vinci d'Antonio di ser Piero di ser Guido; 1426–1504), a Florentine legal notary, and Caterina di Meo Lippi (c. 1434–1494), from the lower class. It remains uncertain where Leonardo was born; the traditional account, from a local oral tradition recorded by the historian Emanuele Repetti, is that he was born in Anchiano, a country hamlet that would have offered sufficient privacy for the illegitimate birth, though it is still possible he was born in a house in Florence that Ser Piero almost certainly had. Leonardo's parents both married separately the year after his birth. Caterina – who later appears in Leonardo's notes as only "Caterina" or "Catelina" – is usually identified as the Caterina Buti del Vacca, who married the local artisan Antonio di Piero Buti del Vacca, nicknamed L'Accattabriga, 'the quarrelsome one'. Ser Piero married Albiera Amadori – having been betrothed to her the previous year – and after her death in 1464, went on to have three subsequent marriages. From all the marriages, Leonardo eventually had 16 half-siblings (of whom 11 survived infancy) who were much younger than he (the last was born when Leonardo was 46 years old) and with whom he had very little contact. |
Very little is known about Leonardo's childhood and much is shrouded in myth, partially because of his biography in the frequently apocryphal Lives of the Most Excellent Painters, Sculptors, and Architects (1550) by 16th-century art historian Giorgio Vasari. Tax records indicate that by at least 1457 he lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent the years before then in the care of his mother in Vinci, either Anchiano or Campo Zeppi in the parish of San Pantaleone. He is thought to have been close to his uncle, Francesco da Vinci, but his father was probably in Florence most of the time. Ser Piero, who was the descendant of a long line of notaries, established an official residence in Florence by at least 1469 and had a successful career. Despite his family history, Leonardo only received a basic and informal education in (vernacular) writing, reading, and mathematics; possibly because his artistic talents were recognised early, so his family decided to focus their attention there. |
Later in life, Leonardo recorded his earliest memory, now in the Codex Atlanticus. While writing on the flight of birds, he recalled as an infant when a kite came to his cradle and opened his mouth with its tail; commentators still debate whether the anecdote was an actual memory or a fantasy. |
Verrocchio's workshop |
In the mid-1460s, Leonardo's family moved to Florence, which at the time was the centre of Christian Humanist thought and culture. Around the age of 14, he became a garzone (studio boy) in the workshop of Andrea del Verrocchio, who was the leading Florentine painter and sculptor of his time. This was about the time of the death of Verrocchio's master, the great sculptor Donatello. Leonardo became an apprentice by the age of 17 and remained in training for seven years. Other famous painters apprenticed in the workshop or associated with it include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo was exposed to both theoretical training and a wide range of technical skills, including drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics, and woodwork, as well as the artistic skills of drawing, painting, sculpting, and modelling. |
Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio or at the Platonic Academy of the Medici. Florence was ornamented by the works of artists such as Donatello's contemporaries Masaccio, whose figurative frescoes were imbued with realism and emotion, and Ghiberti, whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Leon Battista Alberti's treatise De pictura were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks. |
Much of the painting in Verrocchio's workshop was done by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on his The Baptism of Christ (c. 1472–1475), painting the young angel holding Jesus's robe with skill so far superior to his master's that Verrocchio purportedly put down his brush and never painted again (the latter claim probably being apocryphal). The new technique of oil paint was applied to areas of the mostly tempera work, including the landscape, the rocks seen through the brown mountain stream, and much of Jesus's figure, indicating Leonardo's hand. Additionally, Leonardo may have been a model for two works by Verrocchio: the bronze statue of David in the Bargello and the archangel Raphael in Tobias and the Angel. |
Vasari tells a story of Leonardo as a very young man: a local peasant made himself a round buckler shield and requested that Ser Piero have it painted for him. Leonardo, inspired by the story of Medusa, responded with a painting of a monster spitting fire that was so terrifying that his father bought a different shield to give to the peasant and sold Leonardo's to a Florentine art dealer for 100 ducats, who in turn sold it to the Duke of Milan. |
First Florentine period (1472–c. 1482) |
By 1472, at the age of 20, Leonardo qualified as a master in the Guild of Saint Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate and live with him. Leonardo's earliest known dated work is a 1473 pen-and-ink drawing of the Arno valley (see below). According to Vasari, the young Leonardo was the first to suggest making the Arno river a navigable channel between Florence and Pisa. |
In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of Saint Bernard in the Palazzo Vecchio, an indication of his independence from Verrocchio's studio. An anonymous early biographer, known as Anonimo Gaddiano, claims that in 1480 Leonardo was living with the Medici and often worked in the garden of the Piazza San Marco, Florence, where a Neoplatonic academy of artists, poets and philosophers organised by the Medici met. In March 1481, he received a commission from the monks of San Donato in Scopeto for The Adoration of the Magi. Neither of these initial commissions were completed, being abandoned when Leonardo went to offer his services to Duke of Milan Ludovico Sforza. Leonardo wrote Sforza a letter which described the diverse things that he could achieve in the fields of engineering and weapon design, and mentioned that he could paint. He brought with him a silver string instrument – either a lute or lyre – in the form of a horse's head. |
With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neoplatonism; Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were the foremost. Also associated with the Platonic Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. In 1482, Leonardo was sent as an ambassador by Lorenzo de' Medici to Ludovico il Moro, who ruled Milan between 1479 and 1499. |
First Milanese period (c. 1482–1499) |
Leonardo worked in Milan from 1482 until 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo travelled to Hungary (on behalf of Sforza) to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna. In 1490 he was called as a consultant, together with Francesco di Giorgio Martini, for the building site of the cathedral of Pavia and was struck by the equestrian statue of Regisole, of which he left a sketch. Leonardo was employed on many other projects for Sforza, such as preparation of floats and pageants for special occasions; a drawing of, and wooden model for, a competition to design the cupola for Milan Cathedral; and a model for a huge equestrian monument to Ludovico's predecessor Francesco Sforza. This would have surpassed in size the only two large equestrian statues of the Renaissance, Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo completed a model for the horse and made detailed plans for its casting, but in November 1494, Ludovico gave the metal to his brother-in-law to be used for a cannon to defend the city from Charles VIII of France. |
Contemporary correspondence records that Leonardo and his assistants were commissioned by the Duke of Milan to paint the Sala delle Asse in the Sforza Castle, c. 1498. The project became a trompe-l'œil decoration that made the great hall appear to be a pergola created by the interwoven limbs of sixteen mulberry trees, whose canopy included an intricate labyrinth of leaves and knots on the ceiling. |
Second Florentine period (1500–1508) |
When Ludovico Sforza was overthrown by France in 1500, Leonardo fled Milan for Venice, accompanied by his assistant Salaì and friend, the mathematician Luca Pacioli. In Venice, Leonardo was employed as a military architect and engineer, devising methods to defend the city from naval attack. On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with Saint Anne and Saint John the Baptist, a work that won such admiration that "men [and] women, young and old" flocked to see it "as if they were going to a solemn festival." |
In Cesena in 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. Leonardo created a map of Cesare Borgia's stronghold, a town plan of Imola in order to win his patronage. Upon seeing it, Cesare hired Leonardo as his chief military engineer and architect. Later in the year, Leonardo produced another map for his patron, one of Chiana Valley, Tuscany, so as to give his patron a better overlay of the land and greater strategic position. He created this map in conjunction with his other project of constructing a dam from the sea to Florence, in order to allow a supply of water to sustain the canal during all seasons. |
Leonardo had left Borgia's service and returned to Florence by early 1503, where he rejoined the Guild of Saint Luke on 18 October of that year. By this same month, Leonardo had begun working on a portrait of Lisa del Giocondo, the model for the Mona Lisa, which he would continue working on until his twilight years. In January 1504, he was part of a committee formed to recommend where Michelangelo's statue of David should be placed. He then spent two years in Florence designing and painting a mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. |
In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. Leonardo may have commenced a project for an equestrian figure of d'Amboise; a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. Many of Leonardo's most prominent pupils either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. |
Second Milanese period (1508–1513) |
By 1508, Leonardo was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila. |
In 1512, Leonardo was working on plans for an equestrian monument for Gian Giacomo Trivulzio, but this was prevented by an invasion of a confederation of Swiss, Spanish and Venetian forces, which drove the French from Milan. Leonardo stayed in the city, spending several months in 1513 at the Medici's Vaprio d'Adda villa. |
Rome and France (1513–1519) |
In March 1513, Lorenzo de' Medici's son Giovanni assumed the papacy (as Leo X); Leonardo went to Rome that September, where he was received by the pope's brother Giuliano. From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere Courtyard in the Apostolic Palace, where Michelangelo and Raphael were both active. Leonardo was given an allowance of 33 ducats a month and, according to Vasari, decorated a lizard with scales dipped in quicksilver. The pope gave him a painting commission of unknown subject matter, but cancelled it when the artist set about developing a new kind of varnish. Leonardo became ill, in what may have been the first of multiple strokes leading to his death. He practised botany in the Vatican Gardens, and was commissioned to make plans for the Pope's proposed draining of the Pontine Marshes. He also dissected cadavers, making notes for a treatise on vocal cords; these he gave to an official in hopes of regaining the Pope's favour, but he was unsuccessful. |
In October 1515, King Francis I of France recaptured Milan. On 21 March 1516 Antonio Maria Pallavicini, the French ambassador to the Holy See, received a letter sent from Lyon a week previously by the royal advisor Guillaume Gouffier, seigneur de Bonnivet, containing the French king's instructions to assist Leonardo in his relocation to France and to inform the artist that the King was eagerly awaiting his arrival. Pallavicini was also asked to reassure Leonardo that he would be well received at court, both by the King and by his mother, Louise of Savoy. Leonardo entered Francis's service later that year, and was given the use of the manor house Clos Lucé near the King's residence at the royal Château d'Amboise. He was frequently visited by Francis, and drew plans for an immense castle town the King intended to erect at Romorantin. He also made a mechanical lion, which during a pageant walked towards the King and – upon being struck by a wand – opened its chest to reveal a cluster of lilies. |
Leonardo was accompanied during this time by his friend and apprentice Francesco Melzi, and was supported by a pension totalling 10,000 scudi. At some point, Melzi drew a portrait of Leonardo; the only others known from his lifetime were a sketch by an unknown assistant on the back of one of Leonardo's studies (c. 1517) and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm wrapped in clothing. The latter, in addition to the record of an October 1517 visit by Louis d'Aragon, confirms an account of Leonardo's right hand being paralytic when he was 65, which may indicate why he left works such as the Mona Lisa unfinished. He continued to work at some capacity until eventually becoming ill and bedridden for several months. |
Death |
Leonardo died at Clos Lucé on 2 May 1519 at the age of 67, possibly of a stroke. Francis I had become a close friend. Vasari describes Leonardo as lamenting on his deathbed, full of repentance, that "he had offended against God and men by failing to practice his art as he should have done." Vasari states that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. Vasari also records that the King held Leonardo's head in his arms as he died, although this story may be legend rather than fact. In accordance with his will, sixty beggars carrying tapers followed Leonardo's casket. Melzi was the principal heir and executor, receiving, as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo's other long-time pupil and companion, Salaì, and his servant Baptista de Vilanis, each received half of Leonardo's vineyards. His brothers received land, and his serving woman received a fur-lined cloak. On 12 August 1519, Leonardo's remains were interred in the Collegiate Church of Saint Florentin at the Château d'Amboise. |
Some 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher." |
Salaì, or Il Salaino ("The Little Unclean One", i.e., the devil), entered Leonardo's household in 1490 as an assistant. After only a year, Leonardo made a list of his misdemeanours, calling him "a thief, a liar, stubborn, and a glutton," after he had made off with money and valuables on at least five occasions and spent a fortune on clothes. Nevertheless, Leonardo treated him with great indulgence, and he remained in Leonardo's household for the next thirty years. Salaì executed a number of paintings under the name of Andrea Salaì, but although Vasari claims that Leonardo "taught him many things about painting," his work is generally considered to be of less artistic merit than others among Leonardo's pupils, such as Marco d'Oggiono and Boltraffio. |
At the time of his death in 1524, Salaì owned a painting referred to as Joconda in a posthumous inventory of his belongings; it was assessed at 505 lire, an exceptionally high valuation for a small panel portrait. |
Personal life |
Despite the thousands of pages Leonardo left in notebooks and manuscripts, he scarcely made reference to his personal life. |
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