256:
553:
473:
32:
1105:
117:
1157:
510:
1064:
461:
1262:
1169:
1076:
1139:: the same profile view of the face profile, identical shoulder position, similar movement of the mass of hair on the head and shoulders, and the same curved fringe on the angel's forehead echoing the outline of a veil, now invisible on the portrait. Finally, the trace of a grid on the preparatory surface of the painting tends to confirm the possibility that the angel's face is a reproduction of an already executed portrait by enlarging the scale, as in the case of Leonardo da Vinci's unfinished painting. Nevertheless, this hypothesis would push back the creation date of the angel in red to after 1500, a date that current research tends to invalidate.
522:
731:
1282:
1482:
979:
1468:
1383:
1369:
1019:, as indicated by their style and workmanship, but also by the fact that their figures are more consistent in scale of proportion with those of this second version. In fact, both works were most likely created under Leonardo's supervision: the choice of depicting a lira da braccio rather than the more common fiddle may confirm this, the master being described by his biographer
1630:) suggest that the two paintings were initially located above Leonardo da Vinci's until 1579, arguing that the contract's enumeration of requests was from the top to the bottom of the altarpiece. Such an arrangement is not unprecedented, since it can also be found in the Altarpiece of the Virgin preserved in the church of Saint-Maurice in
1419:, probably to unify the colors. Rachel Billinge, Luke Syson and Marika Spring hypothesize that, as the panels overlooked that of the Virgin of the Rocks, the brightness of their hues could not have clashed with it; on the other hand, when moved to either side, the contrast was so blatant that repainting in neutral colors was imperative.
1208:, the two figures are described as "rigid and angular ", their contours are more pronounced and the drapery of their garments is "stylized and flat": there is a clear contrast between the face of the angel in green and that of his model, the Virgin, with its softer, more subtle shadows, confirming in the latter a greater mastery of the
804:, which replaced the one in the Louvre on the altarpiece, they could be the second version of a first one, now lost, and may have been sold to the person who bought the first version of the central panel. In any case, these are the two panels we know of, which were exhibited in the altarpiece with the second version of the
799:
However, the commissioners were dissatisfied with
Leonardo's work, and he was obliged to sell his first production and produce a second one from the early 1490s onwards. This raises the question of the identification and dating of the two side panels, since it is highly probable that they met with an
397:
alone, since he was one of three artists named in the commission contract, each with a role identified by art historians: Leonardo da Vinci for the central panel of the altarpiece, Evangelista de Predis for the gilding and his brother
Ambrogio for the two side panels. However, numerous stylistic and
246:
Although the two paintings are described in documents dating from the time of their creation, these are only indirectly so, since they mainly concern The Virgin of the Rocks. As a result, they remain objects of speculation for researchers as to their status as first or second versions of the work,
406:
was long attributed to the same painter, research carried out at the end of the 20th century now links it much more surely to
Francesco Napoletano, a pupil of Leonardo da Vinci. Indeed, the technical characteristics visible through scientific imagery alone, such as the very different proportion
1435:
Certainly considered minor works at the time of their creation, the two panels of the Angel musicians did not enjoy the same fortune as the panel they framed: they are therefore the subject of only one known copy, within the framework of the one meticulously executed on the
722:. According to the commission contract, each panel was to feature four angels, some singing, others playing music. In the end, however, each panel featured just one angel musician: the angel on the left played the lira da braccio and the one on the right played the lute.
1104:
944:
for the different areas shows that particular attention and meticulousness were paid to the head in each work: the researchers deduce that distinct studies were produced for these areas, without this necessarily implying that these parts are from different hands.
1075:
1034:, his face and head posture (angle formed by the neck and rotation of the head in relation to the shoulders) are very much in the manner of the Florentine master: they are very close to those of the Virgin in the London version of the
716:. Ambrogio was responsible for creating the two panels dedicated to the angel musicians, most certainly under Leonardo's supervision. In all probability, these two paintings were intended to frame what would much later be known as the
472:
653:
Nonetheless, a minority of authors strongly postpone the creation of the two panels: in particular, they rely on the hypothesis that
Giovanni de Predis drew inspiration for the Angel in Red from Leonardo da Vinci's portrait of
1570:
However, this hypothesis is hampered by the death in 1501 of
Francesco Napoletano, considered by researchers to be the most likely author of the Angel in Green panel, which was created at the same time as the Angel in Red.
1666:
In fact, the discrepancy between the requirements of the commission contract, which calls for four angels on each of the two panels, and the currently visible panels, which each depict a single angel, could be a revealing
643:, until July of that year. Finally, technical analysis clearly indicates that the two panels were created at the same time, thus ruling out the possibility that they were created several years apart, as has been argued.
1651:- it does not specify the year: most art historians maintain that it is the year of the contract, i.e. 1483.29.30 Nevertheless, Frank Zöllner, recalling the twenty-four to thirty months that had been estimated for the
1680:
These technical faults are multiple. For example, the different composition of each of the superimposed pigments meant that the paint layers dried at unequal speeds, causing craquelure in some parts of the works
1005:
As representations of full-length figures set within niches, the
Musician Angels are clearly inspired by the angle of view, attitude and situation of the figures in the Men-at-Arms fresco series painted by
610:
Certainly, at the earliest, and taking into account the preparatory phase of the works' production, both paintings were created from 1490 onwards, as they are clearly inspired by the London version of the
1426:
have suggested, that this choice of colors provides insight into the arrangement of the panels above the Virgin of the Rocks. Finally, the latest research raises more questions than it provides answers.
1311:
of medieval representations of angel musicians. The figure of the angel musician dates back to the 13th century. It has evolved over the centuries to proclaim the glory of an illustrious figure from the
1168:
1203:
Although they most likely benefited from
Leonardo da Vinci's assistance, the two painters who created the panels do not stand up to comparison with the master's productions. In contrast to those in the
735:
681:
521:
617:, which itself is dated between 1491 and 1499 (then, after a pause of a few years, between 1506 and 1508). But more precisely, it is accepted that the Angel in Green was inspired by the figure of
847:- and repainting accordingly - and, on the contrary, reduction in height. In particular, it seems that their upper parts must originally have been arch-shaped, as in the central panel of the
855:
are repaints: behind the Angel in Green were two masses, one green topped by another bluish, certainly corresponding to a landscape, the frame certainly corresponding to an opening, like an
239:, but recent research shows that it may instead be due to Francesco Napoletano, one of Leonardo da Vinci's pupils. The second, entitled Angel in Red with lute, is generally attributed to
255:
1281:
1647:
In the case of the Virgin of the Rocks, this date is the subject of debate among scholars, for although the contract indicates a deadline of "December 8" - corresponding to the
1027:
as an excellent player of the instrument; the existence of technical defects similar to
Leonardo's productions (in particular cracks or agglomerates) would also attest to this.
317:, which they appear to play. Their differences lie in the instrument they play, their posture, and the appearance and position of their heads. The angel in green is playing the
911:
they bear; more significantly, the right arms and shoulders were superimposed before the angel's arm in red was moved during creation, as shown by scientific imaging analysis.
1261:
1063:
247:
their creation, attribution, dating, exact placement on the altarpiece and the reasons for their alterations over time - particularly regarding the background color.
1505:
940:
shows that the two paintings were created in two distinct phases: the creation of the figures' bodies, followed by the creation of their heads. A comparison of the
926:, a technical process in which the painter transfers his drawing onto the prepared support by pricking it with needles; as for the angel in red, the painter used a
1604:
for example), this hypothesis is sometimes contested. Rachel
Billinge, Luke Syson and Marika Spring, for example, based on Hannelore Glasser's doctoral thesis (
800:
identical fate, and that those currently in the
National Gallery are not the ones originally painted for the altarpiece. Indeed, like the London version of the
1395:
Analyses carried out in 1974 and confirmed by a recent study using infrared reflectography show that the panels have undergone a profound change in background
1657:
a few years earlier, considers that seven months is an insufficient timeframe for such a large-scale project, and pushes the deadline back to December 1484.21
700:
Giacomo del Maino (before 1469 - 1503 or 1505) delivered a large-scale structure that still had to be decorated. Three artists, the brothers Evangelista and
460:
203:
1156:
509:
579:
e. However, with regard to the latter painting, most art historians specializing in painting incorrectly identify the instrument played by the angel as a
903:
Researchers consider that the two painters based their work on the use of an identical model: indeed, the bodies of the two figures are very similar in
2795:
398:
technical clues tend to show that the two works, despite their great visual similarities, were produced by two different hands. The attribution of the
1708:
is that the chemical reaction between certain pigment components has created small agglomerates, particularly visible on the thinner layers of paint.
870:. In addition, other areas have suffered from drying complications during their creation, resulting in cracking, particularly in the darker areas and
931:
831:) to be sold in 1802, shortly before his death, to the art collector Giacomo Melzi. In 1898, his descendant Giovanni Melzi d'Eril sold them to the
386:- the use of fingers, for example, to finish the contours of the figures - which, in some cases, are the source of identical problems - such as
658:, which dates from 1499 to 1500. They put the creation date at 1506–1508, i.e. during the final production period of the Virgin of the Rocks.
313:
nature. With long, curly hair, they are dressed in long, colored robes, one with a round collar, the other with a square collar. Each holds a
1382:
1368:
1013:
Moreover, the paintings benefit from the strong influence of works by Leonardo da Vinci, particularly the National Gallery's version of the
859:-shaped bay; and the background of the Angel in Red featured a niche whose pinkish color was intended as an imitation of red-brown stone.
31:
646:
Moreover, this creation could not have taken place after 1501, the date of the death of Francesco Napoletano, the putative author of the
1422:
Several questions arise about the particular colors chosen and why they were deemed inappropriate. It may be, as art historians at the
2280:
552:
603:
It is reasonable to think that the two paintings were produced at the same time, between 1495 and 1499, even if this contradicts the
387:
279:
paint. Their dimensions, very similar, are 117.2 Ă— 60.8 cm for the Angel in Green and 118.8 Ă— 61 cm for the Angel in Red.
2662:
Vezzosi, Alessandro; et al. (Découvertes Gallimard / peinture (n° 293)) (April 16, 2010). "3: À Milan au temps des Sforza".
1973:
Scott Jones, Sterling; et al. (Publications of the Early Music Institute) (1995). "4: The Lira Da Braccio in Works of Art".
1536:
Scott Jones, Sterling; et al. (Publications of the Early Music Institute) (1995). "4: The Lira Da Braccio in Works of Art".
2697:
2671:
2644:
2625:
2599:
2572:
2547:
2512:
2462:
2439:
2051:
1984:
1685:, p. 65)); but these same craquelures were also caused more simply by differences in the thickness of the paint layers (
1615:
1547:
819:
were still in their place in the altarpiece, framing the gap left by Leonardo da Vinci's painting. After the creation of the
1688:
439:), both dated from the late 1480s, point to this painter. Finally, the hypothesis of another disciple of Leonardo da Vinci,
2582:
Nicholl, Charles (2006). "Quatrième partie : De nouveaux horizons : 1482-1490. Chap. 3: La Vierge aux rochers".
415:
for the rendering of the skin, indicate that the painting is probably by an artist different from the one who created the
2815:
2762:
1648:
116:
2292:
259:
Indicative size comparison between a woman of average stature (165 cm) and the Angel in Red painting (118.8 Ă— 61 cm).
1653:
792:
de Predis on the other. The contractual delivery date for the two panels is the same as for the central panel, the
587:. Although it should be Angel in Green with a lira da braccio, it is a title that has become inappropriate in both
2735:
2481:
1095:
632:
2800:
689:
211:
2715:
2483:
La commissione della 'Vergine delle roccie' a Leonardo da Vinci secondo i documenti originali (25 aprile 1483)
1212:
technique. In fact, both panels are considered by art critics to be less iconographically innovative than the
2805:
2557:
Neveux, Murielle; et al. (Le musée idéal) (September 20, 2018). "2: Léonard à la cour du duc de Milan".
918:
of each work indicates the use of two very different techniques, confirming that the works are indeed by two
419:. Furthermore, technical and stylistic comparisons with Napoletano's creations from the same period, such as
568:
of the works correspond to their descriptions. They are established throughout the scientific literature as
2810:
2558:
1500:
2716:"Altered Angels: Two panels from the Immaculate Conception Altarpiece once in San Francesco Grande, Milan"
1534:
run parallel to the handle. On the work, such a string is clearly visible under the figure's left thumb.
789:
701:
527:
394:
240:
236:
127:
42:
1086:
1046:
372:: indeed, they resemble the style used by the master in the London version of the central panel of the
2612:; Taglialagamba, Sara (October 11, 2017). "II. Du dessin au tableau, « Les deux vierges »".
218:. Separated from their original altarpiece at the very end of the 18th century, they have been in the
2620:] (in French). Translated by Temperini, Renaud. Paris: Citadelles et Mazenod. pp. 204–211.
2790:
1337:
851:. Finally, studies carried out in 1975 have shown that the backgrounds currently appearing as grey
2381:
1446:", and dated circa 1611–1614. However, it is possible that a second copy existed in the church of
1231:
are warmer in the angel in red than in the angel in green, as the painter is more inclined to use
862:
The panels are in an average state of preservation. Indeed, their pictorial surfaces appearing in
1324:. Thus, they appear when they concern Mary in the context of significant events in her life: the
282:
The two panels share many similarities: each features a single full-length figure, standing in a
2426:(October 3, 2018). "4. Dans les pas de Léonard, « L'époque de Ludovic le More 1488-1498".
811:
1781 marked the separation of the works making up the Immaculate Conception altarpiece, as the
843:
After their creation, both panels underwent modifications in their dimensions: enlargement in
1317:
927:
856:
330:
243:. The influence of Leonardo da Vinci is evident in the treatment of these classical figures.
2635:
Syson, Luke; Keith, Larry (2011). "Representing the Divine : The Virgin of the rocks".
2449:
Bonoldi, Lorenzo; et al. (Engramma) (2015). "III: Isabella d'Este: Muse for an angel".
1408:
1228:
852:
730:
286:
2505:
Leonardo da Vinci and The Virgin of the Rocks: One Painter, Two Virgins, Twenty-Five Years
8:
2432:
Le regard de la Joconde : la Renaissance et Léonard de Vinci racontés par un tableau
1631:
1495:
1299:
1041:
1036:
1015:
998:
718:
667:
640:
635:), whose creation dates back to 1495. What's more, Ambrogio de Predis didn't return from
613:
378:
339:
198:
2434:] (in French). Translated by Bajard, Sophie. Payot & Rivages. pp. 153–161.
1287:
1131:
Similarly, according to some authors, the source of inspiration for the portrait of the
2306:
1687:
Spring, Marika; Mazzotta, Antonio; Roy, Ashok; Billinge, Rachel; Peggie, David (2011).
1333:
1176:
1136:
820:
785:
655:
565:
440:
314:
283:
2693:
2667:
2650:
2640:
2621:
2595:
2568:
2543:
2518:
2508:
2491:
2468:
2458:
2435:
2298:
2288:
2047:
2043:
1990:
1980:
1621:
1611:
1553:
1543:
1115:
1091:
777:
705:
365:
334:
193:
2281:"Naissance et décadence de la lira da braccio: Héritage de l'antique : Delphes"
1606:
Glasser, Hannelore; et al. (Outstanding dissertations in the fine art) (1977).
827:, they were sequestered in the "Religious Fund of the Cisalpine Republic" (Italian:
329:. He inclines his head towards his instrument in a posture identical to that of the
276:
1423:
1123:
1081:
949:
832:
765:
739:
618:
604:
592:
539:
219:
180:
161:
96:
77:
2681:
1348:
are privileged instruments, while the lira da braccio is a much rarer instrument.
815:
was sold to an English collector: in fact, testimony from 1798 indicates that the
69:
117.2 cm Ă— 60.8 cm (46.14 in Ă— 23.93 in)
2666:(in French). Translated by Liffran, Françoise. Paris: Gallimard. pp. 51–81.
1974:
1537:
1487:
1473:
1412:
1007:
982:
588:
584:
557:
318:
2457:]. Translated by Lawrence, Clark Anthony. Rimini: Guaraldi. pp. 47–50.
2609:
2423:
1531:
1481:
1020:
713:
348:
326:
290:
169:
85:
2522:
2472:
970:
and the figure's arm have been off-centered towards the edge of the painting.
2784:
2654:
2302:
1625:
1528:
1456:. In any case, these two only copies are now considered to have disappeared.
1407:
colors; as for the Angel in Red with a lute, the background formed a reddish
1329:
757:
747:
487:
424:
268:
2495:
1994:
1557:
1403:-framed bay window in the background, opening onto a landscape of green and
866:
show adhesion problems, as these areas were repainted over a layer of dirty
153:
118.8 cm Ă— 61 cm (46.8 in Ă— 24 in)
2736:"Leonardo da Vinci's Virgin of the Rocks: Treatment, Technique and Display"
1705:
1325:
941:
915:
904:
697:
639:, where he was in the company of Francesco Napoletano at the invitation of
402:
thus enjoys a consensus in favor of Giovanni Ambrogio de Predis. While the
923:
937:
623:
322:
2310:
2428:
Gli occhi della Gioconda. Il genio di Leonardo raccontato da Monna Lisa
954:
754:
393:
More precisely, tradition has long held that the two paintings were by
383:
978:
229:
Both paintings are dated between 1495 and 1499. The first is entitled
2591:
2539:
1308:
1246:
967:
879:
636:
298:
2354:"the stylized, flattened folds of fabric covering Ambrogio's angel"
1689:"Painting Practice in Milan in the 1490s: The Influence of Leonardo"
436:
382:); moreover, the three panels of the altarpiece demonstrate similar
2564:
1307:
Both paintings feature an angel playing music, in keeping with the
919:
824:
781:
709:
607:'s estimate, which dates the Angel in Green between 1490 and 1499.
390:
in the paint layer appearing as soon as the drying process begins.
264:
2734:
Keith, Larry; Roy, Ashok; Morrison, Rachel; Schade, Peter (2011).
2490:, Milan, year XXXVII, fasc. XXV, 1910. Milan: Tip. L.F. Cogliati.
776:
on April 25, 1483, between the confraternity on the one hand, and
2689:
1209:
948:
Finally, the infrared reflectography analysis carried out by the
908:
871:
867:
677:
373:
272:
235:; it has long been attributed to the Italian Renaissance painter
2639:. New Haven: London National Gallery Company. pp. 161–175.
1979:. Bloomington: Indiana University Press. pp. 16–56, 25–26.
1886:, pp. 93–94, Chap. III. Nouveau départ à Milan - 1483-1484)
1542:. Bloomington: Indiana University Press. pp. 16–56, 25–26.
1524:
1345:
1185:
1119:
844:
773:
685:
580:
535:
369:
223:
207:
165:
81:
23:
708:. were commissioned to gild the timbers and carved parts, and
1608:
Artists' Contracts of the Early Renaissance (Doctoral thesis)
1453:
1400:
1396:
1362:(The red frame delimits the actual dimensions of each panel).
1321:
1313:
1240:
1236:
1220:
1181:
994:
761:
751:
693:
628:
483:
433:
Madonna and Child with St. Sebastian and St. John the Baptist
428:
412:
408:
351:. His face, seen in profile, is turned to the viewer's left.
310:
215:
2538:] (in French). Translated by Guglielmetti, Anne. Milan:
2120:, p. 92, Chap. III. Nouveau départ à Milan - 1483-1484)
2038:
Temperini, Renaud; et al. (ABCdaire serie art) (2003).
1963:, p. 114, Chap III: Nouveau départ à Milan - 1483-1984)
192:
are two paintings created in the late 15th century to frame
2563:(in French). Gennevilliers, Paris: GEO art (Prisma Media),
1416:
1404:
1341:
1295:
1232:
1224:
963:
883:
863:
571:
344:
306:
302:
294:
108:
661:
2590:] (in French). Translated by Piot, Christine. Arles:
1686:
1584:
Although it remains the majority view among researchers (
1506:
The Altarpiece in the Chapel of the Immaculate Conception
922:: for instance, the creator of the angel in green used a
887:
838:
202:. Their purpose was to decorate the side panels of the
2733:
2714:
Billinge, Rachel; Syson, Luke; Spring, Marika (2011).
2637:
Leonardo da Vinci : Painter at the court of Milan
2179:
2686:
LĂ©onard de Vinci, 1452-1519 : tout l'Ĺ“uvre peint
2608:
2129:
1589:
1351:
1254:
in works contemporary with the creation of the panels
878:, on a large area of repainting corresponding to the
204:
Altarpiece in the Chapel of the Immaculate Conception
2103:, p. 356, Catalogue critique des peintures, XI)
1463:
1094:, 1495–1498, Milan, refectory of the convent of the
725:
364:
Researchers agree that the two panels originated in
2713:
2664:
LĂ©onard de Vinci : Art et science de l'univers
2402:
2367:
2342:
2266:
2251:
2239:
2218:
2025:
1948:
1868:
1809:
1780:
1763:
1709:
1682:
1635:
874:; this is particularly evident on the panel of the
309:open slightly behind their backs, indicating their
2451:Isabella d'Este : la Signora del Rinascimento
1247:A representation within the context of a tradition
760:attached to the church of San Francesco Grande in
1704:) Another problem common to works by Leonardo or
2782:
2760:
2684:; et al. (Bibliotheca universalis) (2017).
1743:
1601:
2536:Léonard de Vinci : une carrière de peintre
2287:(57). Presses universitaires du Mirail: 41–54.
556:The instrument played by the angel in green: a
2560:Léonard de Vinci : les secrets d'un génie
1399:: the Angel in Green with a vielle featured a
1252:Examples of representations of angel musicians
1219:The two figures differ from each other in the
443:, is sometimes evoked but without convincing.
2529:
2206:
2164:
1898:
1668:
1447:
1441:
1054:Portraits used as models for the face of the
2507:. Newcastle: Cambridge Scholars Publishing.
1610:. New York, London: Garland Pub (New York).
829:Fondo di religione della Republica Cisalpina
2588:Leonardo da Vinci, the flights of the minds
1972:
1600:, pp. 93, 111, 355) or as reported by
1535:
1357:Proposed restoration of the original colors
1223:used, particularly in the rendering of the
2634:
2455:Isabella d'Este : A Renaissance woman
2278:
2010:
1929:
1917:
1572:
1359:based on analysis of the deep paint layer.
1110:The Virgin from the London version of the
684:, itself the centerpiece of a newly built
115:
30:
2796:Paintings in the National Gallery, London
2530:Marani, Pietro; Villata, Edoardo (1999).
2037:
1069:Detail of the face of the angel in green.
1523:Although this instrument belongs to the
1143:Portrait that may have served as a model
1010:just a few years earlier, in 1486–1487.
977:
934:, then reproduced the drawing freehand.
729:
551:
496:A comparison that allows us to attribute
447:A comparison that allows us to attribute
254:
2680:
2661:
2581:
2479:
2448:
2330:
2191:
2141:
2117:
2100:
2086:
2071:
1960:
1883:
1847:
1797:
1605:
1597:
1593:
1415:. However, the works were repainted in
1135:may be Leonardo da Vinci's portrait of
835:, where they have remained ever since.
736:Altarpiece of the Immaculate Conception
682:Altarpiece of the Immaculate Conception
676:panels was part of the decoration of a
662:Creation context and initial commission
2783:
2618:LĂ©onard de Vinci : l'art du dessi
2556:
2422:
2401:Based on the research and diagrams in
2379:
2262:
2260:
2235:
2233:
2231:
2229:
2227:
2202:
2200:
2175:
2173:
2160:
2158:
2156:
2154:
2152:
2150:
2113:
2111:
2109:
2096:
2094:
2082:
2080:
2067:
2065:
2063:
2021:
2019:
2006:
2004:
1913:
1911:
1909:
1907:
1527:family, it differs in that one or two
952:'s laboratory reveals a large area of
2502:
2355:
1944:
1942:
1940:
1938:
1894:
1892:
1879:
1877:
1830:
1585:
583:, whereas he is actually playing the
1864:
1862:
1860:
1858:
1856:
1843:
1841:
1839:
1826:
1824:
1822:
1820:
1818:
1793:
1791:
1789:
1776:
1774:
1772:
1759:
1757:
1755:
1753:
1751:
1739:
1737:
1735:
1733:
1731:
1729:
1727:
839:Modifications and preservation state
688:, between 1475 and 1480, within the
2743:National Gallery Technical Bulletin
2723:National Gallery Technical Bulletin
2257:
2224:
2197:
2170:
2147:
2106:
2091:
2077:
2060:
2016:
2001:
1904:
1696:National Gallery Technical Bulletin
1198:
898:
297:. The figures stand on their right
45: ? Francesco Napoletano ?
13:
2584:LĂ©onard de Vinci : biographie
2403:Billinge, Syson & Spring (2011
2368:Billinge, Syson & Spring (2011
2343:Billinge, Syson & Spring (2011
2267:Billinge, Syson & Spring (2011
2252:Billinge, Syson & Spring (2011
2240:Billinge, Syson & Spring (2011
2219:Billinge, Syson & Spring (2011
2130:Pedretti & Taglialagamba (2017
2026:Billinge, Syson & Spring (2011
1949:Billinge, Syson & Spring (2011
1935:
1889:
1874:
1869:Billinge, Syson & Spring (2011
1810:Billinge, Syson & Spring (2011
1781:Billinge, Syson & Spring (2011
1764:Billinge, Syson & Spring (2011
1710:Billinge, Syson & Spring (2011
1683:Billinge, Syson & Spring (2011
1649:feast of the Immaculate Conception
1636:Billinge, Syson & Spring (2011
1590:Pedretti & Taglialagamba (2017
1352:The mystery of the mismatched pair
1096:church of Santa Maria delle Grazie
772:): a contract was signed before a
633:Church of Santa Maria delle Grazie
275:panels. Both use the same medium:
16:Panels for the Virgin of the Rocks
14:
2827:
2532:Leonardo, una carriera di pittore
1853:
1836:
1815:
1786:
1769:
1748:
1724:
746:The work was commissioned by the
726:Sponsor and progress of the works
1480:
1466:
1381:
1375:An Angel in Green with a Vielle.
1367:
1280:
1260:
1167:
1155:
1103:
1074:
1062:
750:of the Immaculate Conception, a
520:
508:
471:
459:
2411:
2395:
2373:
2361:
2348:
2336:
2324:
2285:Pallas, revue d'Ă©tudes antiques
2272:
2245:
2212:
2185:
2135:
2123:
2031:
1966:
1954:
1923:
1674:
1660:
1641:
1578:
1564:
1040:; similarly, they are found in
734:Proposed reconstruction of the
359:
321:; he appears to be rubbing the
2382:"Anges musiciens du Moyen Age"
2040:L'ABCdaire de LĂ©onard de Vinci
1803:
1588:, p. 6), Carlo Pedretti (
1517:
690:Church of San Francesco Grande
532:Portrait of a Woman in Profile
250:
212:Church of San Francesco Grande
1:
2279:Canguilhem, Philippe (2001).
1718:
1440:by Andrea Bianchi, known as "
973:
788:, the brothers Evangelis and
466:Detail of the angel in green.
343:. The angel in red plays the
305:pointing towards the viewer.
2614:Leonardo, l'arte del disegno
2144:, pp. 93, 111, and 355)
1501:Italian Renaissance painting
1430:
1389:An Angel in Red with a Lute.
1118:, 1491-1499 then 1506–1508,
267:are mounted on an identical
232:Angel in Green with a Vielle
7:
2754:
2707:
1459:
1193:
1162:Detail of the angel in red.
893:
577:Angel in Green with a Viell
515:Detail of the angel in red.
395:Giovanni Ambrogio de Predis
237:Giovanni Ambrogio de Predis
128:Giovanni Ambrogio de Predis
43:Giovanni Ambrogio de Predis
10:
2832:
2816:Musical instruments in art
2480:Biscaro, Gerolamo (1910).
2380:Brassy, Christian (2004).
2207:Marani & Villata (1999
2165:Marani & Villata (1999
1899:Marani & Villata (1999
1669:Marani & Villata (1999
1449:Santa Maria della Passione
1180:(Leonardo da Vinci, 1500,
993:fresco series, 1486–1487,
665:
488:Brera Academy of Fine Arts
425:Brera Academy of Fine Arts
354:
2763:"The Virgin of the Rocks"
2488:Archivio storico Lombardo
1292:An Angel playing the lute
796:, i.e. December 8, 1483.
598:
547:
534:, between 1495 and 1499,
176:
157:
149:
141:
133:
123:
114:
106:
92:
73:
65:
57:
49:
38:
29:
22:An Angel in Green with a
21:
2416:
1511:
1273:Angel playing the fiddle
1188:, inventory no. MI 753).
453:to Francesco Napoletano.
206:, created to decorate a
2011:Syson & Keith (2011
1930:Syson & Keith (2011
1918:Syson & Keith (2011
1573:Syson & Keith (2011
987:Man with Two-hand Sword
808:by 1503 at the latest.
738:(based on works in the
107:An Angel in Red with a
2767:nationalgallery.org.uk
2761:The National Gallery.
2688:(in French). Cologne:
2540:Actes Sud ; Motta
1448:
1442:
1411:, certainly imitating
1002:
743:
561:
478:Francesco Napoletano,
347:; his hand plucks the
260:
2801:Renaissance paintings
1654:Adoration of the Magi
981:
733:
555:
502:to Ambrogio de Predis
258:
137:Between 1495 and 1499
53:Between 1495 and 1499
2806:Renaissance painters
2594:. pp. 238–244.
2542:. pp. 126–151.
2503:Blatt, Katy (2018).
2042:(in French). Arles:
1744:The National Gallery
1602:The National Gallery
1340:. Among others, the
1330:the Virgin and Child
1243:than his colleague.
1145:for the face of the
958:on the panel of the
770:San Fransesco Grande
719:Madonna of the Rocks
672:The creation of the
570:Angel in Red with a
2811:Religious paintings
2486:(in Italian). from
1976:The Lira Da Braccio
1632:Ponte in Valtellina
1539:The Lira Da Braccio
1496:Italian Renaissance
1438:Virgin of the Rocks
1300:Pinacoteca Vaticana
1214:Virgin of the Rocks
1206:Virgin of the Rocks
1112:Virgin of the Rocks
1042:John the Evangelist
1037:Virgin of the Rocks
1030:In the case of the
1016:Virgin of the Rocks
999:Pinacoteca di Brera
942:underlying drawings
849:Vierge of the Rocks
813:Virgin of the Rocks
806:Virgin of the Rocks
802:Virgin of the Rocks
794:Virgin of the Rocks
668:Virgin of the Rocks
641:Bianca Maria Sforza
614:Virgin of the Rocks
384:technical processes
379:Virgin of the Rocks
340:Virgin of the Rocks
289:featuring the same
199:Virgin of the Rocks
2567:. pp. 37–45.
2389:Histoire médiévale
2180:Keith et al. (2011
1003:
886:and the figures's
821:Cisalpine Republic
744:
562:
528:Ambrogio de Predis
315:musical instrument
301:, with their left
261:
241:Ambrogio de Predis
2699:978-3-8365-6296-6
2673:978-2-07-034880-0
2646:978-1-85709-491-6
2627:978-2-85088-725-3
2601:978-2-7427-6237-8
2574:978-2-8104-2341-5
2549:978-2-7427-2409-3
2514:978-1-5275-0644-2
2464:978-88-6927-241-7
2441:978-2-228-92175-6
2345:, pp. 62–64)
2333:, pp. 49–50)
2053:978-2-08-010680-3
2028:, pp. 57–59)
1986:978-0-253-20911-5
1783:, pp. 72–73)
1617:978-0-8240-2694-3
1549:978-0-253-20911-5
1116:Leonardo da Vinci
1092:Leonardo da Vinci
962:: in effect, the
916:underlying design
825:General Bonaparte
790:Giovanni Ambrogio
778:Leonardo da Vinci
706:Leonardo da Vinci
480:Madonna and Child
421:Madonna and Child
366:Leonardo da Vinci
335:Leonardo da Vinci
194:Leonardo da Vinci
186:
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1171:
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1124:National Gallery
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1082:John the Apostle
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950:National Gallery
899:Creation process
833:National Gallery
740:National Gallery
619:John the Apostle
605:National Gallery
540:National Gallery
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78:National Gallery
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2791:1490s paintings
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2610:Pedretti, Carlo
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1474:Painting portal
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1276:
1275:, 15th century.
1269:Niederdeutscher
1265:
1256:
1253:
1249:
1201:
1196:
1189:
1177:Isabella d'Este
1172:
1163:
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1137:Isabella d'Este
1127:
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1099:
1087:The Last Supper
1079:
1070:
1067:
1047:The Last Supper
976:
907:, pose and the
901:
896:
841:
817:Angel musicians
728:
696:. In 1482, the
674:Angel Musicians
670:
664:
656:Isabella d'Este
624:The Last Supper
601:
585:lira da braccio
558:lira da braccio
550:
543:
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516:
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497:
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476:
467:
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448:
441:Marco d'Oggiono
362:
357:
319:lira da braccio
253:
190:Angel musicians
17:
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11:
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2698:
2682:Zöllner, Frank
2678:
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2211:
2209:, p. 133)
2196:
2194:, p. 240)
2184:
2169:
2167:, p. 149)
2146:
2134:
2132:, p. 204)
2122:
2105:
2090:
2087:Biscaro (1910)
2076:
2059:
2052:
2046:. p. 56.
2030:
2015:
2013:, p. 174)
2000:
1985:
1965:
1953:
1934:
1932:, p. 173)
1922:
1920:, p. 172)
1903:
1901:, p. 141)
1888:
1873:
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1814:
1802:
1785:
1768:
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1722:
1720:
1717:
1715:
1714:
1673:
1671:, p. 132)
1659:
1640:
1616:
1594:Biscaro (1910)
1577:
1575:, p. 172)
1563:
1548:
1515:
1513:
1510:
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1393:
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1387:
1380:
1378:
1373:
1366:
1355:
1353:
1350:
1316:, such as the
1305:
1304:
1294:, circa 1472,
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1059:
1056:Angel in Green
1032:Angel in Green
1021:Giorgio Vasari
975:
972:
938:X-ray analysis
932:reflectography
900:
897:
895:
892:
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837:
727:
724:
704:de Predis and
666:Main article:
663:
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648:Angel in Green
600:
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493:
492:
482:, late 1480s,
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2420:
2405:, p. 74)
2404:
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2370:, p. 67)
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2331:Bonoldi (2015
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2074:, p. 50)
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1712:, p. 62)
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1702:: 78–112, 81.
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1638:, p. 59)
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1326:Annunciation
1320:, Mother of
1306:
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1175:Portrait of
1174:
1147:Angel in Red
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1133:Angel in Red
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876:Angel in Red
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627:(1495-1498,
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500:Angel in red
499:
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479:
450:
446:
432:
423:(now in the
420:
417:Angel in Red
416:
407:between the
403:
400:Angel in Red
399:
392:
377:
363:
360:Attributions
338:
284:trompe-l'Ĺ“il
281:
262:
245:
231:
230:
228:
226:since 1898.
197:
189:
187:
2356:Blatt (2018
1831:Blatt (2018
1586:Blatt (2018
1318:Virgin Mary
991:Men at Arms
782:portraitist
564:The modern
251:Description
2785:Categories
2523:1019751278
2473:1018417866
2044:Flammarion
1719:References
1443:il Vespino
1338:Coronation
1334:Assumption
974:Influences
955:pentimento
698:woodcarver
291:gradations
277:walnut oil
150:Dimensions
66:Dimensions
2655:983812733
2592:Actes Sud
2303:0031-0387
1626:644932802
1431:Posterity
1309:tradition
1239:and less
1114:(detail,
1090:(detail,
989:from the
968:sound box
880:sound box
872:draperies
637:Innsbruck
265:paintings
142:Catalogue
58:Catalogue
2772:June 12,
2755:Webpages
2749:: 32–56.
2729:: 52–77.
2708:Articles
2565:Le Monde
2496:27348576
2316:March 8,
2311:43605843
1995:30112539
1558:30112539
1460:See also
1344:and the
1194:Analysis
1008:Bramante
983:Bramante
920:painters
894:Creation
780:and the
752:Milanese
702:Ambrogio
435:(now in
411:and the
158:Location
74:Location
2690:Taschen
1532:strings
1336:or the
1267:Master
1210:sfumato
1023:in his
924:cartoon
909:drapery
882:of the
868:varnish
766:Italian
755:secular
678:retable
593:English
374:retable
355:History
349:strings
337:'s the
327:strings
325:on the
311:angelic
269:support
210:in the
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1556:
1546:
1525:vielle
1397:colors
1346:vielle
1332:, the
1227:: the
1221:colors
1186:Louvre
1120:London
905:height
857:arcade
853:niches
845:length
784:s and
774:notary
714:panels
686:chapel
680:, the
599:Dating
589:French
581:vielle
566:titles
548:Titles
536:London
437:Zurich
409:colors
388:cracks
370:studio
331:Virgin
273:poplar
224:London
208:chapel
166:London
145:NG1662
124:Artist
82:London
61:NG1661
39:Artist
24:Vielle
2739:(PDF)
2719:(PDF)
2616:[
2586:[
2534:[
2453:[
2430:[
2417:Books
2385:(PDF)
2307:JSTOR
1692:(PDF)
1667:clue.
1529:drone
1512:Notes
1454:Milan
1413:stone
1409:niche
1401:green
1314:Bible
1241:black
1237:brown
1229:tones
1182:Paris
995:Milan
762:Milan
710:paint
694:Milan
629:Milan
484:Milan
431:) or
429:Milan
413:black
376:(the
307:Wings
287:niche
263:Both
216:Milan
177:Owner
93:Owner
2774:2018
2694:ISBN
2668:ISBN
2651:OCLC
2641:ISBN
2622:ISBN
2596:ISBN
2569:ISBN
2544:ISBN
2519:OCLC
2509:ISBN
2492:OCLC
2469:OCLC
2459:ISBN
2436:ISBN
2318:2019
2299:ISSN
2289:ISBN
2048:ISBN
1991:OCLC
1981:ISBN
1622:OCLC
1612:ISBN
1554:OCLC
1544:ISBN
1417:gray
1405:blue
1342:lute
1296:Rome
1233:pink
1225:skin
1025:Vite
964:lute
928:grid
914:The
884:lute
864:grey
712:the
591:and
575:and
572:Lute
498:the
449:the
345:lute
303:feet
299:legs
295:gray
188:The
134:Year
109:Lute
50:Year
1452:in
1322:God
1084:in
1044:in
966:'s
888:arm
823:by
692:in
621:in
427:in
368:'s
333:in
323:bow
293:of
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