Portrait of a Musician

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constrained to arise and to die in one or more harmonic tempos which surround a proportionality by its members; such a harmony is composed not differently from the circumferential lines which generate human beauty by its members. Yet painting excels and rules over music, because it does not immediately die after its creation the way unfortunately music does. To the contrary, painting stays in existence, and will show you as being alive what is, in fact, on a single surface.

4640: 1304:(1469–1494) has been proposed, given that the original, vague, description of the portrait stated that it depicted the Duke of Milan. Syson has noted that this identification would be particularly meaningful, as Gian Galeazzo was the rightful heir to the throne before Ludovico took power. However, there is no direct evidence to support this, and the uncovering of the sheet music makes this very unlikely as Gian Galeazzo is not known to have been a musician. 4678: 617:

stated that it is "now accepted that Leonardo executed the face, while Boltraffio is credited with the entire upper body", whereas according to Syson only a "substantial minority" of scholars disagreed with a full attribution. While there is debate on the authorship of the painting as a whole, most scholars are agreed that the face, at least, is entirely Leonardo's work.

269:, but there is no historical evidence to substantiate any of these claims. The work has been criticized for its stoic and wooden qualities, but noted for its intensity and the high level of detail in the subject's face. Scholarly interpretations range from the painting depicting a musician mid-performance, to representing Leonardo's self-proclaimed ideology of the 503:. This was quickly crossed out and changed to "or rather by Leonardo". In 1798, the Ambrosiana attributed the portrait to the "school of Luini", but it was soon relisted as by Leonardo. When first listed in 1672, it was described as having "all the elegance that might be expected of a ducal commission", which implies that the subject was thought to be 230:, virtually all current scholarship attributes at least the sitter's face to him. Uncertainty over the rest of the painting arises from the stiff and rigid qualities of the body, which are uncharacteristic of Leonardo's work. While this may be explained by the painting's unfinished state, some scholars believe that Leonardo was assisted by one of 1350:". The chiaroscuro has been a point of contention: Zöllner and other scholars have criticized it as "over-emphatic"; Syson considered it dramatic and compelling; whereas Isaacson has criticized the shadowing but praised the lighting of the eyes. Syson has suggested that the work's unfinished state largely accounts for these negative reactions. 1338:", but criticized the work for a sullen expression, poor coloring and incompleteness. According to Marani, these comments can largely be explained by Müntz's use of a very poor reproduction for analysis. Like Müntz, Zöllner found fault with the work's incompleteness and expression; he also considered its pose inferior to that of 1147:. During the painting's conception, Migliorotti would have been in his late teens or early twenties, making him a plausible candidate. Additionally, in a 1482 inventory from the Codex Atlanticus, Leonardo listed "a portrait of Atalante with his face raised". This is thought to have been a study for, or an earlier version of, the 1283:, Ludovico's son-in-law and captain general of the Sforza militias, a prominent figure of the Milanese court. In support of this thesis, the Italian scholar Piero Misciatelli recalls that Galeazzo had been a patron of Leonardo and was probably passionate about music. Other scholars, such as the French art historian 1388:

These words seemingly disapprove of music's ephemeral nature, in contrast to painting's material and permanent physical qualities. This theory suggests that the sadness in the young man's eyes is due to the idea that music simply disappears after a performance. Another interpretation is that Leonardo

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to Gotardo Panigarola concerning the attire of musicians for the court, with one stating, "Gotardo. To Weerbeke, our singer, we would like to give a dark velvet robe, such as you have given to the Abbot and to Cordier, both of them also our singers". As Fagnart pointed out, the letter is too vaguely

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and revealed a hand holding sheet music. This led scholars to believe that the subject was not Ludovico, but a musician in Milan at the same time as Leonardo. Since this discovery, numerous candidates have been proposed as the sitter; however, his identity remains uncertain. The man may have appeared

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noted that it is unlikely that Leonardo would have had assistants in the mid-1480s, and even if so, they would not likely have assisted on a portrait for an official or a personal friend. Despite Marani's claims, the modern scholarly consensus on whether Leonardo was assisted remains unclear: Zöllner

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and songs by Josquin. This theory has since been discredited; the notation is largely illegible and many composers were writing in this manner. As with Gaffurius, other portraits of Josquin do not show a resemblance to the sitter and, as a priest in his mid-thirties, he was unlikely to have been the

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The sitter has curly shoulder-length hair, wears a red cap, and stares intently at something outside the viewer's field of vision. His stare is intensified by careful lighting that focuses attention on his face, especially on his large glassy eyes. He wears a tight white undershirt. The painting of

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and letters written on it. Due to the poor condition of the lower part of the painting, the notes and letters are largely illegible. This has not stopped some scholars from hypothesizing what the letters say, often using their interpretations to support their theory of the musician's identity. The

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Due to a paucity of contemporary records, some scholars have proposed theories as to the purpose of the painting. Some believe that the tension in the subject's face is intense because he has just finished or is in the process of performing. Other scholars see the painting as a representation of

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The pupil dilates and contracts according to the brightness or darkness of the objects ; and since it takes some time to dilate and contract, it cannot see immediately on going out of the light and into the shade, nor, in the same way, out of the shade and into the light, and this very thing has

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How Music Ought to be Called the Sister and Junior to Painting. Music is to be regarded none other than the sister of painting since it is subject to hearing, a sense second to the eye, and since it composes harmony from the conjunction of its proportional parts operating at the same time. are

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The main argument against this theory is that the subject's face is not raised as described in the 1482 note. However, Marani noted that while the musician's face is not raised in a literal sense, "the expression seems uplifted, suggesting a singer who has just raised his face from the sheet of

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Challenge to the painting's attribution stems from its rigid and stoic demeanor, which is uncharacteristic of Leonardo's usual paintings. While some scholars consider this a result of the painting's unfinished state, others have proposed that the clothing and torso were painted by a student. If

527:, Ludovico's wife. In the mid-20th century, the Leonardo specialist Angela Ottino della Chiesa identified eleven scholars who supported an attribution to Leonardo; eight who ascribed the work to Ambrogio de Predis; two who were undecided and one who considered it the work of 4202: 726:. Leonardo is likely to have been influenced by Antonello's style, and could have seen that artist's work during Antonello's brief visit to Milan in 1476, or in Venice around 1486, when Leonardo might have been in the city visiting his former teacher 660:. It was not until 1489 that Leonardo engaged in a study of human anatomy, particularly that of the skull. Because of this, the painting is now thought to have been completed earlier in the period, during the mid-1480s, usually between 1483 and 1487. 655:

Modern scholars, including Syson and Marani, have observed that Leonardo could not have executed the portrait much later than 1487, as it is considered to lack the refinement and realism of later works informed by his anatomical studies, such as the

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is a radical departure from the prevailing form of portraiture in 15th-century Milan. The Milanese audience was more artistically conservative than others elsewhere in Italy, and would have expected most, if not all, portraits to be in

583:. Other characteristics typical of Leonardo's style include the melancholic atmosphere, the sensitive eyes, the ambiguous mouth (which seems to have just closed or is about to open), and curly hair reminiscent of his earlier portrait, 604:

Leonardo was assisted by another artist, the most frequently cited candidates are Boltraffio and Ambrogio de Predis, due to their style being closer to the hard and rigid qualities of the portrait. According to the art historian

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The mouth hints at a smile, or suggests that the man is about to sing or has just sung. A notable feature of his face is the effect on his eyes from the light outside the frame. The light dilates the pupils of both eyes, but the

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far more than the left, something that is not possible. Some have argued that this is simply for dramatic effect, so that the viewer feels a sense of motion from the musician's left to right side of his face. The art historian

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at the time. The attribution is further supported by a comparison of the pupils of the musician's eyes, which dilate to different degrees; a connection has been noted to the following passage in Leonardo's notebooks:

1342:. The art historian Jack Wasserman has stated that the portrait lacks the typical facial intensity of Leonardo's other works; however, Syson and Kemp have praised the sitter's intense stare, and the art historian 332:

has noted that this retouching introduced the somewhat unsuccessful shading of the neck and the left side of the lips. With its black background, the portrait is reminiscent of Leonardo's later portraits, the

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stated to definitely link Weerbeke to the portrait. Additionally, Weerbeke presents the same issue as Josquin and Gaffurius; Weerbeke would have been in his thirties and probably too old to be the sitter.

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has noted that due to the work's unfinished state, the portrait's shadows are overtly harsh, and the portrait itself features fewer of the thin layers of oil paint typically found in Leonardo's paintings.

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is the most similar of Leonardo's portraits to Antonello's, the figure is facing away from the viewer, in contrast not only to most of Antonello's portraits, but also to Leonardo's other portraits. The

1096:, which would have properly identified him as a priest, and the subject of the painting is a young man, whereas Gaffurius would have been in his early thirties at the time of the painting's creation. 1709:. This may be explained by the uncertainty surrounding Leonardo's arrival in Milan; while he is believed to have moved there some time in 1482, he is first firmly documented there in April 1483. 875:

to remain in Milan. Marani noted that the work was likely meant for private use. It is generally thought not to have been among the works gifted to the Ambrosiana by its founder, Cardinal

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as one of his original works. Doubts about ascribing the work to Leonardo have existed for almost as long as the painting has been known. Its first appearance in a 1672 catalog for the

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do not resemble the music in the painting. This suggests that this musical composition is not by Leonardo, which leaves the composer and the significance of the music unknown.

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was moved to depict the man's beauty. More likely, given the odd and seemingly intimate aesthetic of the painting, is that it was made as a personal gift for a close friend.

1112: 1045:(1451–1522) became the leading candidate in the early 20th century. Gaffurius was a priest and a prominent music theorist in Milan, court musician for Ludovico Sforza, and 1567: 915:, but Syson stated that the French considered the Codex Atlanticus to be more valuable and took that instead. Both scholars agree that it was in the Ambrosiana in 1798. 313:. The painting is largely unfinished save for the face and hair, but is in good condition overall, with only the bottom right corner suffering damage. The art historian 612:, another student of Leonardo, depict eyes in the same way as the portrait, suggesting that either might have collaborated with Leonardo on the work. The art historian 1310:(1497–1543), an Italian lutenist and composer, and the Flemish singer Giovanni Cordier have been proposed, albeit without substantive evidence. The Dutch illustrator 1109: 4302: 436:", Italian for 'angelic singer'. The notes have offered little clarity into the painting, other than strongly suggesting that the subject is a musician. They are in 1330:

has historically been mixed, and negative reactions have given some scholars reluctance to grant it a full attribution to Leonardo. The 19th-century art historian

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composer and singer. Weerbeke worked for the Sforza family at the same time as Leonardo, and so they likely knew each other. This theory cites letters from

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The bottom of the work may have been slightly trimmed. There is a small amount of retouching, especially towards the back of the head; the art historian

840: 557:. The dark background of the portrait, a style popularized by Leonardo, furthers this attribution as it appears in later paintings by him, such as the 3693: 3590: 3520: 589:. Also characteristic of Leonardo is the use of walnut wood, a medium he favored and recommended, but which was not commonly used by other artists in 722: 3643: 3471: 879:, in 1618, which at the time made up the bulk of the museum's collection. It is possible that it may have been given to the Ambrosiana in 1637 by 4705: 4017: 3899: 1108: 1487:

Alternatively translated as: "the face of the Duke of Milan, with such elegance, that perhaps the living Duke would have wanted it for himself".

1110: 4267: 4216: 3273: 4571: 2705: 542:. Its attribution to Leonardo is based on stylistic and technical similarities to other works by him, notably the face of the angel in the 1155:

music". Since the widespread rejection of Franchinus Gaffurius as the leading candidate, Migliorotti is now favored by many commentators.

511:, who was Leonardo's employer when the painting was executed. This was accepted until the 20th century, when scholars believed it to be a 4153: 3870: 3845: 1447: 1195:

during the 1480s, concurrently with Leonardo. Clercx-Lejeune proposed that the words on the sheet music are "Cont" (an abbreviation of "

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that predominated in 15th-century Milan. It shares many similarities with other paintings Leonardo executed there, such as the Louvre

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Alternatively translated as: "a portrait of Atalante with his upturned face" or "a head portrayed from Atalante who raises his face".

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Clockwise from top left: Ludovico Sforza, Gaffurius, Gian Galeazzo Sforza and Josquin have each been proposed as the subject of the

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before its 1904–1905 restoration; two drawings (top right by Leonardo, bottom by Napoletano), thought to depict the sitter for the

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The portrait's intimacy indicates a private commission, or one by a personal friend. Until the 20th century it was thought to show

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evidence does not match Gaffurius to the sitter. Kemp has noted that the letters "Cant" and "Ang" could just as easily stand for

375:. Technical examination of the work has revealed that the doublet was probably originally dark red, and the stole bright yellow. 286: 1057:. He is sure to have been acquainted with Leonardo, since—in addition to their shared employer—Gaffurius's 1496 music treatise, 2783: 2715: 984:

before its 1904–1905 restoration; two drawings (middle by Leonardo, right by Napoletano), thought to depict the sitter for the

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The work is first documented in 1672 when it was catalogued by Pietro Paolo Bosca in the Ambrosiana. Sources vary on whether

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Fagnart, Laure (2019). "Gaspar Depicted? Leonardo's Portrait of a Musician". In Lindmayr-Brandl, Andrea; Kolb, Paul (eds.).

3389:""Seeking the Universal Painter" (review of exhibition, Leonardo, Painter at the Court of Milan, National Gallery, London)" 1346:

stated that in this work "Leonardo attains an unprecedented level of psychological intensity, which reaches the sublime in

1699: 626: 4288: 951: 804:, Antonello. National Gallery, London. Like Antonello, Leonardo emphasizes the subject's face, which dominates the frame. 3875: 3865: 491:

Although the attribution to Leonardo had been controversial in earlier centuries, modern art historians now regard the

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was the most favored candidate throughout the 20th century, but in the 21st century scholarly opinion shifted towards

4419: 4209: 4106: 4077: 4038: 3740:(1897). "Beiträge zur Kenntnis des Leonardo da Vinci" [Contributions to the Knowledge of Leonardo da Vinci]. 3720: 3670: 3621: 1607: 567: 52: 20: 4295: 4174: 4139: 3928: 1295: 1257: 3758: 4720: 4113: 3838: 1151:. The intimate nature of the present portrait makes it especially likely that the subject was a personal friend. 580: 222:

since at least 1672. One of Leonardo's best preserved paintings, there are no extant contemporary records of the

1135:(1466–1532), and since then many commentators have supported the theory. In 1482, Migliorotti and Leonardo left 4576: 4538: 4409: 4181: 3418: 1067:

by Leonardo. Additionally, Beltrami proposed that the letters "Cant" and "Ang" were abbreviated from the Latin

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The stiffly folded piece of paper, which is held in an odd and delicate manner, is a piece of sheet music with

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panel. It depicts a young man in bust length and three-quarter view, whose right hand holds a folded piece of

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Barone, Juliana (November 2013). "Review of Exhibitions: Afterthoughts on the London and Paris exhibitions".

2753: 1572: 4348: 4281: 4084: 695: 191: 4507: 4462: 3638: 3054: 2741: 1543: 1523: 1478:, p. 138). None of these sources note any disagreement between scholars on the painting's materials. 528: 520: 480: 427: 969: 4656: 4643: 4533: 4399: 4070: 3979: 3831: 1578: 1307: 1207:"), and that this meant that they were associated with a song with a descending melodic line, such as 4725: 4482: 4237: 4009: 4001: 3993: 1289: 1175: 1029:

are of the same person. Various historical candidates have been proposed, but without firm evidence.

912: 652:. Older sources dated the work to the middle of this period, with dates of 1485–1490 and 1490 given. 3907: 1586: 345:, but differs from them in that the sitter's body and head face the same direction. The biographer 145: 3278: 4715: 4710: 4472: 4444: 4343: 3892: 3763: 3704: 3654: 3605: 3531: 3482: 3150: 3146:

Leonardo da Vinci: A Reference Guide to His Life and Works (Significant Figures in World History)

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Marani specified that there is no evidence that Boltraffio was in Leonardo's studio before 1490.

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in other works by Leonardo and his studio. Scholars at the National Gallery have suggested that

856: 636:), due to similarities with other works from this time, including stylistic resemblances to the 341: 4404: 4359: 1365: 782:, Antonello. Louvre, Paris. Antonello's method of lighting the face may have inspired Leonardo. 3712: 3613: 3539: 3251:]. Pubblicazioni dell'Istituto di Studii Vinciani in Roma, Vol. 2 (in Italian). Bologna: 3215:; Keith, Larry; Galansino, Arturo; Mazzotta, Antoni; Nethersole, Scott; Rumberg, Per (2011). 1551: 1513: 1240: 1164: 931: 727: 496: 219: 126: 3807: 826:, Circle of Leonardo. Pinacoteca di Brera, Milan. The artist was noticeably inspired by the 464: 4274: 3914: 1301: 1280: 1132: 1042: 885: 699: 585: 404: 290: 258: 254: 187: 19:

This article is about the painting by Leonardo da Vinci. For the painting by Pontormo, see

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such as poetry, sculpture and music. Leonardo declared at the beginning of his incomplete

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partially erased letters can be made out as "Cant" and "An" and are usually read as "

180: 153: 63: 4597: 4545: 4487: 4323: 3815: 3708: 3658: 3649: 3609: 3535: 3486: 3477: 3449: 3281:. Translated by Bonfante-Warren, Alexandra (English translation ed.). London: 3220: 2979: 2873: 1555: 1547: 1531: 1519: 1414: 1181: 923: 897: 679: 613: 539: 500: 441: 372: 262: 223: 195: 36: 3349: 3323: 1092:, Italian for 'angelic singer'. The subject of the painting was not depicted in a 499:

listed it as by Leonardo, but a 1686 inventory of the collection attributed it to

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would introduce similar three-quarter-view portraits with black backgrounds in

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At the end of the 19th century, the subject of the portrait was identified by

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on a small, 44.7 cm × 32 cm (17.6 in × 12.6 in)

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style of portrait painting to Italy, the work marks a dramatic shift from the

4694: 4517: 4376: 4333: 4328: 4160: 3942: 3767:. Vol. 157, no. 1350. London: The Burlington Magazine Publications. 3688: 3260: 3135: 2954: 2946: 2928: 2895: 2739: 1590: 1539: 1527: 1504: 1496: 1236: 1038: 731: 512: 412: 314: 3585: 2565: 2505: 2282: 2280: 2278: 2276: 2274: 2272: 2148: 2146: 2144: 2142: 2140: 2138: 2136: 1902: 1900: 1898: 1896: 1894: 1892: 1890: 1888: 1886: 1884: 1882: 1880: 1878: 1876: 1005:

The identification of the sitter as Ludovico was accepted until a 1904–1905

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already deceived me in the painting of an eye, and that is how I learned it.

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44.7 cm × 32 cm (17.6 in × 13 in)

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Brown, David Alan (1983). "Leonardo and the Idealized Portrait in Milan".

2962: 2481: 183:, and the identity of its sitter has been closely debated among scholars. 3009:

Leonardo da Vinci's technical practice: paintings, drawings and influence

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and employer of Leonardo. During a 1904–1905 restoration, the removal of

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has written that "the eyes are perhaps the most striking feature of the

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and some reflections on his Milanese Workshop". In Menu, Michel (ed.).

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is perhaps the best preserved, despite the fading of colors over time.

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The art historian Laure Fagnart suggested in 2019 that the sitter is

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The earliest scholars date the work is 1483, even though Leonardo's

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by an artist in Leonardo's circle was heavily influenced by the

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The Virgin and Child with Saint Anne and Saint John the Baptist

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The Virgin and Child with Saint Anne and Saint John the Baptist

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was formerly thought to be by Leonardo and was paired with the

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Museo Nazionale Scienza e Tecnologia Leonardo da Vinci (Milan)

2057: 2055: 4434: 2784:"Siegfried Woldhek: The Search for the True Face of Leonardo" 1212: 1140: 871:

is Leonardo's only known male portrait painting and his only

445: 423: 164: 130: 1191:– 1521) as the sitter. Josquin worked in the service of the 3211: 2972:

Gaspar van Weerbeke: New Perspectives on his Life and Music

2677: 2571: 2511: 2487: 2439: 2427: 2384: 2382: 2380: 2286: 2234: 2232: 2152: 2052: 1906: 1727: 1666: 1470:, p. 153) list only oils, as do older sources such as 1463: 1204: 1144: 694:. The sitter's three-quarter profile was already common in 575:

in particular has shown many stylistic similarities to the

2219: 2217: 2177: 2175: 2173: 2171: 2169: 2167: 2165: 2163: 2161: 2074: 2072: 2070: 2806: 2529: 2445: 2123: 2121: 2119: 2117: 1987: 1985: 1983: 1981: 1979: 1977: 1975: 1458:, p. 225) list the work as "tempera and oil", while 4064:

Madonna and Child with the Infant Saint John the Baptist

2847: 2845: 2830: 2626: 2624: 2622: 2609: 2607: 2605: 2603: 2601: 2599: 2597: 2595: 2582: 2580: 2411: 2409: 2407: 2405: 2403: 2401: 2399: 2397: 2377: 2355: 2353: 2351: 2349: 2336: 2334: 2332: 2330: 2328: 2326: 2229: 2204: 2202: 2200: 2198: 2196: 2194: 2192: 2190: 2104: 2102: 2089: 2087: 2042: 2040: 2027: 2025: 2023: 2021: 1973: 1971: 1969: 1967: 1965: 1963: 1961: 1959: 1957: 1955: 1942: 1940: 1938: 1730:, p. 100) and the Master of the Archinto Portrait ( 523:

but at the time thought to be a portrait by Leonardo of

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The portrait was exhibited in the 2011–2012 exhibition

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Leonardo da Vinci: The Complete Paintings and Drawings

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found via X-ray testing, as well as the treatment of

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Unfinished painting by Leonardo da Vinci (1483–1487)

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Jahrbuch der Königlich Preussischen Kunstsammlungen

3686: 2922: 2671: 2553: 2301: 2299: 2297: 2295: 2263: 1997: 1834: 1471: 3692: 3642: 3589: 3519: 3470: 2648: 1789: 1442:Sources vary on the materials used to create the 890:, a noted collector of works by Leonardo such as 860:at the Louvre's monumental 2019–2020 exhibition: 4692: 3217:Leonardo da Vinci: Painter at the Court of Milan 2517: 2292: 920:Leonardo da Vinci: Painter at the Court of Milan 625:Art historians place the work within Leonardo's 218:remaining in the city, where it has been in the 1722:is attributed variously to Ambrogio de Predis ( 1107: 1082:Doubt has been cast upon this theory since the 426:for 'angelic song', although the art historian 3687:Macey, Patrick; Noble, Jeremy; Dean, Jeffrey; 1334:complemented its "vigor of modeling worthy of 4048: 3839: 3472:"Arconati [Arconato], Conte Galeazzo" 3011:. Paris: Hermann Éditeurs. pp. 152–161. 1087: 1046: 770: 715: 431: 41: 4203:Designs for an Adoration of the Christ Child 3736: 3125: 3088:] (in Italian). Milan: Frederico Motta. 2695: 2683: 1594: 1361:superiority of painting over other art forms 1318:is one of three self-portraits by Leonardo. 1294:, have recognized the traits of his father, 538:There is no extant record of the portrait's 271:superiority of painting over other art forms 2925:The Complete Paintings of Leonardo da Vinci 1359:Leonardo's self-proclaimed ideology of the 1074: 1068: 1058: 417: 108: 3846: 3832: 3785:(in Italian). Cinisello Balsamo: Silvana. 3521:"Gaffurius [Gafurius], Franchinus" 51: 4217:Head of the Infant Saint John the Baptist 3756: 3663:10.1093/gao/9781884446054.article.T050401 3514: 3491:10.1093/gao/9781884446054.article.T003912 3299: 3173:Leonardo, A Study in Chronology and Style 3105:Leonardo da Vinci: The Complete Paintings 3003:Fiorio, Maria Teresa (2014). "Leonardo's 2983: 2927:. Penguin Classics of World Art. London: 2630: 2547: 2388: 1639:Scholars date the painting to 1483–1487: 1475: 941: 3419:"The Big Review: Leonardo at the Louvre" 3189: 3167: 3025: 2894: 2711: 2371: 2223: 2181: 2127: 2078: 2061: 1946: 1614:bears an even closer resemblance to the 1251: 1180:proposed the French singer and composer 1121:(clickable image—use cursor to identify) 1103: 928:Leonardo 1452–1519: Il Disegno del Mondo 839: 463: 399: 285: 3713:10.1093/gmo/9781561592630.article.14497 3614:10.1093/gmo/9781561592630.article.10313 3540:10.1093/gmo/9781561592630.article.10477 3413: 3397:. Vol. 175, no. 595. London: 3383: 3348: 3322: 3267: 3237: 2969: 2880:. Old Saybrook: Konecky & Konecky. 2851: 2836: 2778: 2727: 2613: 2586: 2559: 2238: 2108: 2046: 2031: 1991: 1929: 1783: 1678: 1635: 1633: 1455: 1427:Portrait of a Man with a Sheet of Music 1409:The work is most commonly known as the 1099: 1079:, another music treatise by Gaffurius. 1032: 4706:Paintings in the Pinacoteca Ambrosiana 4693: 3780: 3584: 3439: 3142: 3102: 3079: 3002: 2872: 2824: 2812: 2740:Site maintained by Marina Wallace and 2654: 2642: 2535: 2499: 2475: 2463: 2451: 2415: 2359: 2340: 2317: 2208: 2093: 1731: 1723: 1654: 1559: 1467: 1459: 1436: 1219: 1013:and Antonio Grandi removed a layer of 911:to France in 1796. Marani stated that 363:is unfinished and his brownish-orange 3853: 3827: 3757:Robertson, Charles (September 2015). 3563: 3059:Leonardo da Vinci: The 100 Milestones 2945: 2012: 1847: 668: 519:in the Ambrosiana, now attributed to 226:. Based on stylistic resemblances to 4018:The Virgin and Child with Saint Anne 3637: 3468: 3128:Personaggi del Quattrocento italiano 3053: 2923:Ottino della Chiesa, Angela (1967). 2523: 2305: 1828: 1642: 1630: 1139:for the court of Ludovico Sforza in 1127:Marani's 1999 treatise suggests the 261:. Other notable suggestions include 3197:. Surrey: Taj Books International. 3175:. Cambridge: Johnson Reprint Corp. 2760:from the original on 1 October 2020 1321: 1256:Comparison between the portrait of 1158: 444:. Leonardo's surviving drawings of 13: 3773: 3694:"Josquin (Lebloitte dit) des Prez" 3274:Leonardo da Vinci: Renaissance Man 2794:from the original on 1 August 2020 1203:), and "A Z" (an abbreviation of " 551:and that of the titular figure in 14: 4747: 4289:Drapery of the Virgin's Right Arm 3801: 3377:Journal and encyclopedia articles 3356:(Anniversary ed.). Cologne: 3082:Leonardo: Una Carriera di Pittore 1546:attributed the work to Leonardo; 1353: 1169:In 1972 the Belgian musicologist 1165:Josquin des Prez § Portraits 163:. Produced while Leonardo was in 21:Portrait of a Musician (Pontormo) 4731:Cultural depictions of musicians 4676: 4664: 4639: 4638: 4175:Studies of the Fetus in the Womb 4154:The Martyrdom of Saint Sebastian 4140:Study for the Madonna of the Cat 3454:10.1111/j.1477-4658.2012.00850.x 1421:). It is sometimes known as the 968: 959: 950: 844:(From left to right) The Louvre 809: 795:Portrait of a Man with a Red Hat 787: 763: 723:Portrait of a Man with a Red Hat 3781:Marani, Pietro C., ed. (2010). 3130:. Rome: G. Garzoni Provenzani. 3086:Leonardo: A Career as a Painter 2772: 2733: 1755: 1746: 1743:Folio 888 recto (ex 324 recto). 1737: 1712: 1692: 1621: 1600: 1490: 1481: 934:, and the 2019–2020 exhibition 353: 4701:Paintings by Leonardo da Vinci 4593:replicas and reinterpretations 4539:Museo Ideale Leonardo da Vinci 4182:Portrait of a Man in Red Chalk 3936:Saint Jerome in the Wilderness 1761:An example is Josquin's motet 1403: 1023:Portrait of a Youth in Profile 926:, London, the 2015 exhibition 554:Saint Jerome in the Wilderness 459: 395: 297:This painting was executed in 281: 276: 1: 3744:(in German). 18. Bd: 92–169. 2974:. Epitome musical. Turnhout: 2900:Leonardo e i disfattisti suoi 2754:University of the Arts London 1703: 1682: 1670: 1658: 1646: 1446:. The Pinacoteca Ambrosiana ( 1392: 1229: 1185: 835: 820: 798: 776: 744: 663: 630: 473: 448:with musical notation in the 157: 73: 4582:Conservation-restoration of 4349:Codex on the Flight of Birds 4282:Drapery of the Virgin's Legs 3908:The Madonna of the Carnation 3783:Leonardo da Vinci: Il musico 3730:UK public library membership 3680:UK public library membership 3631:UK public library membership 3557:UK public library membership 3508:UK public library membership 3143:Palmer, Allison Lee (2018). 3126:Misciattelli, Piero (1914). 1771: 1726:, p. 163), Boltraffio ( 1326:The critical opinion of the 1037:The architectural historian 1025:and Leonardo's drawing of a 696:Early Netherlandish painting 440:and therefore probably show 179:. It is his only known male 7: 4508:Giovanni Ambrogio de Predis 4463:Giovanni Antonio Boltraffio 4168:Portrait of Isabella d'Este 3469:Bell, Janis Callen (2003). 3103:Marani, Pietro C. (2003) . 2904:Leonardo and his defeatists 529:Giovanni Antonio Boltraffio 521:Giovanni Ambrogio de Predis 481:Giovanni Ambrogio de Predis 10: 4752: 4534:Museo leonardiano di Vinci 4071:The Holy Infants Embracing 3249:Leonardo da Vinci: Painter 3244:Leonardo da Vinci: Pittore 3080:Marani, Pietro C. (1999). 2860: 1308:Francesco Canova da Milano 1162: 1027:Bust of a Youth in Profile 319:Leonardo's surviving works 18: 4633:✻✻ Possible collaboration 4626: 4559: 4526: 4483:Giovanni Agostino da Lodi 4453: 4369: 4316: 4247: 4226: 4191: 4131: 4098: 3929:The Adoration of the Magi 3884: 3861: 3330:(2nd ed.). Cologne: 2985:10.1484/M.EM-EB.4.2019026 1763:Illibata Dei Virgo nutrix 1472:Ottino della Chiesa (1967 1247: 1076:Angelicum ac divinum opus 734:suggested that while the 648:, and his sketches for a 620: 167:, the work is painted in 122: 114: 104: 83: 69: 59: 50: 35: 30: 3300:Wasserman, Jack (1975). 3151:Rowman & Littlefield 2746:"Portrait of a Musician" 2264:Ottino della Chiesa 1967 1397: 430:notes that it could be " 249:revealed a hand holding 3811:, Pinacoteca Ambrosiana 3764:The Burlington Magazine 3705:Oxford University Press 3655:Oxford University Press 3606:Oxford University Press 3532:Oxford University Press 3483:Oxford University Press 1720:Portrait of a Young Man 1585:to Ambrogio de Predis; 1423:Portrait of a Young Man 1314:has suggested that the 817:Portrait of a Young Man 741:Portrait of a Young Man 228:other works by Leonardo 190:'s introduction of the 4721:15th-century portraits 4360:A Treatise on Painting 4078:The Battle of Anghiari 4039:Saint John the Baptist 3958:Portrait of a Musician 3871:Science and inventions 3817:Portrait of a Musician 3809:Portrait of a Musician 3005:Portrait of a Musician 1450:2 October 2020 at the 1444:Portrait of a Musician 1418: 1411:Portrait of a Musician 1386: 1381:A Treatise on Painting 1328:Portrait of a Musician 1316:Portrait of a Musician 1285:Robert de la Sizeranne 1265: 1262:Portrait of a Musician 1171:Suzanne Clercx-Lejeune 1149:Portrait of a Musician 1124: 1117:Portrait of a Musician 1088: 1075: 1069: 1059: 1047: 1020:Francesco Napoletano's 996:Portrait of a Musician 992:Portrait of a Musician 986:Portrait of a Musician 982:Portrait of a Musician 942:Identity of the sitter 909:Portrait of a Musician 869:Portrait of a Musician 864: 852:Portrait of a Musician 828:Portrait of a Musician 771: 756:Portrait of a Musician 736:Portrait of a Musician 716: 710:, with works like the 675:Portrait of a Musician 650:bronze horse sculpture 601: 568:Saint John the Baptist 493:Portrait of a Musician 488: 485:Portrait of a Musician 432: 418: 408: 294: 212:Portrait of a Musician 186:Perhaps influenced by 175:, on a small panel of 141:Portrait of a Musician 42: 31:Portrait of a Musician 4577:Portraits of Leonardo 4252:Child with Saint Anne 3900:The Baptism of Christ 1700:first Milanese period 1371: 1255: 1241:Galeazzo Maria Sforza 1114: 932:Royal Palace of Milan 843: 728:Andrea del Verrocchio 627:first Milanese period 596: 497:Pinacoteca Ambrosiana 467: 403: 289: 220:Pinacoteca Ambrosiana 127:Pinacoteca Ambrosiana 4736:Unfinished paintings 4473:Bernardino de' Conti 3973:La Belle Ferronnière 3819:, Universal Leonardo 3516:Blackburn, Bonnie J. 3417:(22 November 2019). 3037:Simon & Schuster 1734:, pp. 155–161). 1366:Treatise on Painting 1302:Gian Galeazzo Sforza 1281:Galeazzo Sanseverino 1216:painting's subject. 1133:Atalante Migliorotti 1100:Atalante Migliorotti 1043:Franchinus Gaffurius 1033:Franchinus Gaffurius 857:La Belle Ferronnière 730:. The art historian 700:Antonello da Messina 563:La Belle Ferronnière 342:La Belle Ferronnière 259:Atalante Migliorotti 255:Franchinus Gaffurius 188:Antonello da Messina 4618:(Galleria Borghese) 4603:Mathematics and art 4567:Cultural references 4430:Rapid fire crossbow 4420:Self-propelled cart 4194:Virgin of the Rocks 3966:Lady with an Ermine 3951:Virgin of the Rocks 3759:"Leonardo da Vinci" 3644:"Leonardo da Vinci" 3442:Renaissance Studies 3283:Thames & Hudson 3269:Vezzosi, Alessandro 2815:, pp. 160–161. 2538:, pp. 738–739. 2454:, pp. 164–165. 2064:, pp. 238–239. 1610:Virgin of the Rocks 1606:Clark noted that a 1474:, p. 100) and 1379:Leonardo da Vinci, 1348:Lady with an Ermine 1296:Roberto Sanseverino 1258:Roberto Sanseverino 1226:Gaspar van Weerbeke 1220:Gaspar van Weerbeke 1073:and a reference to 1063:, contains various 1049:maestro di cappella 847:Virgin of the Rocks 752:Pinacoteca di Brera 692:Ambrogio Bergognone 658:Lady with an Ermine 646:Virgin of the Rocks 638:Lady with an Ermine 573:Lady with an Ermine 559:Lady with an Ermine 548:Virgin of the Rocks 533:Leonardo's students 336:Lady with an Ermine 267:Gaspar van Weerbeke 207:Lady with an Ermine 201:Virgin of the Rocks 196:profile portraiture 192:Early Netherlandish 150:Italian Renaissance 146:unfinished painting 4383:Divina proportione 4339:Codex Trivulzianus 4303:Head of the Virgin 4296:Head of Saint Anne 3738:Müller-Walde, Paul 3700:Grove Music Online 3601:Grove Music Online 3527:Grove Music Online 3415:Bambach, Carmen C. 3385:Bambach, Carmen C. 2978:. pp. 73–77. 2780:Woldhek, Siegfried 2750:Universal Leonardo 1667:Syson et al. (2011 1466:, p. 95) and 1464:Syson et al. (2011 1419:Ritratto di musico 1344:Alessandro Vezzosi 1266: 1125: 1089:"Cantore Angelico" 1070:"Cantum Angelicum" 1041:'s proposition of 865: 669:Historical context 517:Portrait of a Lady 489: 470:Portrait of a Lady 409: 407:of the sheet music 317:noted that out of 295: 109:Identity uncertain 43:Ritratto di musico 4652: 4651: 4616:Leda and the Swan 4609:The Lost Leonardo 4425:Octant projection 4395:Harpsichord-viola 4312: 4311: 4210:Head of the Angel 4094: 4093: 4085:Leda and the Swan 4010:Lansdowne Madonna 3994:Buccleuch Madonna 3915:Ginevra de' Benci 3855:Leonardo da Vinci 3792:978-88-366-1923-8 3728:(subscription or 3678:(subscription or 3629:(subscription or 3555:(subscription or 3549:978-1-56159-263-0 3506:(subscription or 3500:978-1-884446-05-4 3424:The Art Newspaper 3387:(February 2012). 3367:978-3-8365-7625-3 3341:978-3-8365-0215-3 3315:978-0-8109-0262-6 3302:Leonardo da Vinci 3292:978-0-500-30081-7 3230:978-1-85709-491-6 3204:978-1-8440-6036-8 3195:Leonardo da Vinci 3182:978-0-3844-5281-7 3160:978-1-5381-1977-8 3118:978-0-8109-3581-5 3095:978-88-7179-196-8 3072:978-1-4549-304-26 3046:978-1-5011-3915-4 3032:Leonardo da Vinci 3018:978-2-7056-8455-6 2995:978-2-5035-8454-6 2953:. Harmondsworth: 2951:Leonardo da Vinci 2938:978-0-14-008649-2 2887:978-1-56852-198-5 2878:Leonardo da Vinci 2839:, pp. 59–60. 2782:(February 2008). 2696:Misciattelli 1914 2684:Müller-Walde 1897 2672:Macey et al. 2011 2574:, pp. 96–97. 2572:Syson et al. 2011 2514:, pp. 95–96. 2512:Syson et al. 2011 2488:Syson et al. 2011 2440:Syson et al. 2011 2428:Syson et al. 2011 2287:Syson et al. 2011 2241:, pp. 75–76. 2153:Syson et al. 2011 1907:Syson et al. 2011 1786:, pp. 47–48. 1728:Syson et al. 2011 1568:Mallaguzzi Valeri 1340:Ginevra de' Benci 1312:Siegfried Woldhek 1270:Paul Müller-Walde 881:Galeazzo Arconati 877:Federico Borromeo 712:Portrait of a Man 608:, Boltraffio and 586:Ginevra de' Benci 438:mensural notation 273:, such as music. 181:portrait painting 154:Leonardo da Vinci 136: 135: 64:Leonardo da Vinci 4743: 4726:Portraits of men 4681: 4680: 4669: 4668: 4667: 4660: 4642: 4641: 4598:High Renaissance 4546:Leonardo3 Museum 4488:Bernardino Luini 4410:Fighting vehicle 4324:Codex Atlanticus 4264:(London cartoon) 4248:Relating to the 4227:Studies for the 4192:Studies for the 4189: 4188: 4046: 4045: 3893:The Annunciation 3848: 3841: 3834: 3825: 3824: 3796: 3768: 3753: 3733: 3726: 3696: 3683: 3676: 3650:Grove Art Online 3646: 3634: 3627: 3593: 3581: 3560: 3553: 3523: 3511: 3504: 3478:Grove Art Online 3474: 3465: 3436: 3434: 3432: 3410: 3408: 3406: 3371: 3345: 3319: 3296: 3264: 3234: 3221:National Gallery 3208: 3186: 3164: 3139: 3122: 3099: 3076: 3050: 3027:Isaacson, Walter 3022: 2999: 2987: 2966: 2942: 2919: 2891: 2855: 2849: 2840: 2834: 2828: 2822: 2816: 2810: 2804: 2803: 2801: 2799: 2776: 2770: 2769: 2767: 2765: 2737: 2731: 2725: 2719: 2709: 2703: 2693: 2687: 2681: 2675: 2669: 2658: 2652: 2646: 2640: 2634: 2628: 2617: 2611: 2590: 2584: 2575: 2569: 2563: 2557: 2551: 2545: 2539: 2533: 2527: 2521: 2515: 2509: 2503: 2497: 2491: 2485: 2479: 2473: 2467: 2461: 2455: 2449: 2443: 2437: 2431: 2425: 2419: 2413: 2392: 2386: 2375: 2369: 2363: 2357: 2344: 2338: 2321: 2315: 2309: 2303: 2290: 2284: 2267: 2261: 2242: 2236: 2227: 2221: 2212: 2206: 2185: 2179: 2156: 2150: 2131: 2125: 2112: 2106: 2097: 2091: 2082: 2076: 2065: 2059: 2050: 2044: 2035: 2029: 2016: 2010: 1995: 1989: 1950: 1944: 1933: 1927: 1910: 1904: 1851: 1845: 1832: 1826: 1787: 1781: 1766: 1759: 1753: 1750: 1744: 1741: 1735: 1716: 1710: 1708: 1705: 1696: 1690: 1687: 1684: 1681:, p. 225): 1675: 1674: 1486–1487 1672: 1663: 1660: 1657:, p. 339): 1651: 1650: 1483–1486 1648: 1637: 1628: 1625: 1619: 1604: 1598: 1596: 1576: 1561: 1517: 1494: 1488: 1485: 1479: 1462:, p. 339), 1440: 1434: 1407: 1384: 1322:Critical opinion 1293: 1278: 1234: 1233: 1445–1516 1231: 1190: 1187: 1182:Josquin des Prez 1179: 1159:Josquin des Prez 1106: 1091: 1078: 1072: 1062: 1060:Practica Musicae 1052: 999: 998: 988: 972: 963: 954: 936:Léonard de Vinci 924:National Gallery 898:Codex Atlanticus 889: 862:Léonard de Vinci 825: 824: 1490–1491 822: 813: 803: 802: 1475–1476 800: 791: 781: 778: 774: 767: 749: 748: 1490–1491 746: 719: 682:, like those by 635: 634: 1482–1499 632: 614:Pietro C. Marani 501:Bernardino Luini 478: 475: 442:polyphonic music 435: 433:Cantore Angelico 421: 419:Cantum Angelicum 263:Josquin des Prez 162: 161: 1483–1487 159: 78: 77: 1483–1487 75: 55: 45: 28: 27: 4751: 4750: 4746: 4745: 4744: 4742: 4741: 4740: 4691: 4690: 4687: 4675: 4665: 4663: 4655: 4653: 4648: 4630:✻ Collaboration 4622: 4584:The Last Supper 4555: 4522: 4503:Francesco Melzi 4498:Marco d'Oggiono 4468:Cesare da Sesto 4449: 4440:Viola organista 4386:(illustrations) 4365: 4354:Codex Leicester 4308: 4251: 4243: 4222: 4187: 4127: 4114:Horse and Rider 4090: 4044: 3987:Sala delle Asse 3980:The Last Supper 3880: 3857: 3852: 3804: 3799: 3793: 3776: 3774:Further reading 3771: 3727: 3723: 3677: 3673: 3628: 3624: 3554: 3550: 3505: 3501: 3430: 3428: 3404: 3402: 3374: 3368: 3342: 3316: 3306:Harry N. Abrams 3293: 3239:Venturi, Adolfo 3231: 3205: 3191:Pedretti, Carlo 3183: 3169:Pedretti, Carlo 3161: 3119: 3109:Harry N. Abrams 3096: 3073: 3047: 3019: 2996: 2939: 2908:Fratelli Treves 2888: 2863: 2858: 2850: 2843: 2835: 2831: 2823: 2819: 2811: 2807: 2797: 2795: 2788:TED Conferences 2777: 2773: 2763: 2761: 2738: 2734: 2726: 2722: 2710: 2706: 2694: 2690: 2682: 2678: 2670: 2661: 2653: 2649: 2641: 2637: 2629: 2620: 2612: 2593: 2585: 2578: 2570: 2566: 2558: 2554: 2546: 2542: 2534: 2530: 2522: 2518: 2510: 2506: 2498: 2494: 2486: 2482: 2474: 2470: 2462: 2458: 2450: 2446: 2438: 2434: 2426: 2422: 2414: 2395: 2387: 2378: 2370: 2366: 2358: 2347: 2339: 2324: 2316: 2312: 2304: 2293: 2285: 2270: 2262: 2245: 2237: 2230: 2222: 2215: 2207: 2188: 2180: 2159: 2151: 2134: 2126: 2115: 2107: 2100: 2092: 2085: 2077: 2068: 2060: 2053: 2045: 2038: 2030: 2019: 2011: 1998: 1990: 1953: 1945: 1936: 1928: 1913: 1905: 1854: 1846: 1835: 1827: 1790: 1782: 1778: 1774: 1769: 1760: 1756: 1751: 1747: 1742: 1738: 1717: 1713: 1706: 1697: 1693: 1685: 1673: 1669:, p. 95): 1661: 1649: 1645:, p. 47): 1638: 1631: 1626: 1622: 1605: 1601: 1597:were undecided. 1589:to Boltraffio; 1570: 1564:A. Venturi 1511: 1495: 1491: 1486: 1482: 1476:Wasserman (1975 1452:Wayback Machine 1441: 1437: 1408: 1404: 1400: 1395: 1385: 1378: 1356: 1324: 1287: 1272: 1250: 1232: 1222: 1188: 1173: 1167: 1161: 1113: 1104: 1102: 1055:Milan Cathedral 1035: 1011:Luigi Cavenaghi 1003: 1002: 1001: 1000: 990:(Top left) The 989: 979: 978: 975: 974: 973: 965: 964: 956: 955: 944: 938:at the Louvre. 883: 838: 831: 823: 814: 805: 801: 792: 783: 779: 768: 747: 684:Zanetto Bugatto 671: 666: 633: 623: 610:Marco d'Oggiono 525:Beatrice d'Este 505:Ludovico Sforza 476: 462: 398: 356: 347:Walter Isaacson 284: 279: 239:Ludovico Sforza 160: 76: 24: 17: 12: 11: 5: 4749: 4739: 4738: 4733: 4728: 4723: 4718: 4716:1490 paintings 4713: 4711:1480 paintings 4708: 4703: 4686: 4685: 4673: 4650: 4649: 4647: 4646: 4635: 4634: 4631: 4627: 4624: 4623: 4621: 4620: 4612: 4605: 4600: 4595: 4587: 4579: 4574: 4569: 4563: 4561: 4557: 4556: 4554: 4553: 4548: 4543: 4542: 4541: 4530: 4528: 4524: 4523: 4521: 4520: 4515: 4510: 4505: 4500: 4495: 4490: 4485: 4480: 4475: 4470: 4465: 4459: 4457: 4451: 4450: 4448: 4447: 4442: 4437: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4379: 4373: 4371: 4370:Other projects 4367: 4366: 4364: 4363: 4356: 4351: 4346: 4341: 4336: 4331: 4326: 4320: 4318: 4314: 4313: 4310: 4309: 4307: 4306: 4299: 4292: 4285: 4278: 4271: 4268:Second cartoon 4265: 4256: 4254: 4245: 4244: 4242: 4241: 4238:Head of Christ 4233: 4231: 4224: 4223: 4221: 4220: 4213: 4206: 4198: 4196: 4186: 4185: 4178: 4171: 4164: 4157: 4150: 4147:Head of a Bear 4143: 4135: 4133: 4132:Works on paper 4129: 4128: 4126: 4125: 4117: 4110: 4107:Budapest Horse 4102: 4100: 4096: 4095: 4092: 4091: 4089: 4088: 4081: 4074: 4067: 4060: 4052: 4050: 4049:Lost paintings 4043: 4042: 4035: 4032:La Scapigliata 4028: 4021: 4014: 4006: 4002:Salvator Mundi 3998: 3990: 3983: 3976: 3969: 3962: 3954: 3947: 3939: 3932: 3925: 3922:Benois Madonna 3918: 3911: 3904: 3896: 3888: 3886: 3882: 3881: 3879: 3878: 3873: 3868: 3862: 3859: 3858: 3851: 3850: 3843: 3836: 3828: 3822: 3821: 3813: 3803: 3802:External links 3800: 3798: 3797: 3791: 3777: 3775: 3772: 3770: 3769: 3754: 3734: 3721: 3689:Reese, Gustave 3684: 3671: 3635: 3622: 3582: 3572:(4): 102–116. 3561: 3548: 3512: 3499: 3466: 3448:(5): 738–753. 3437: 3411: 3399:Press Holdings 3380: 3379: 3378: 3373: 3372: 3366: 3350:Zöllner, Frank 3346: 3340: 3324:Zöllner, Frank 3320: 3314: 3297: 3291: 3265: 3235: 3229: 3209: 3203: 3187: 3181: 3165: 3159: 3140: 3123: 3117: 3100: 3094: 3077: 3071: 3051: 3045: 3023: 3017: 3000: 2994: 2967: 2947:Clark, Kenneth 2943: 2937: 2920: 2906:]. Milan: 2896:Beltrami, Luca 2892: 2886: 2874:Arasse, Daniel 2869: 2868: 2867: 2862: 2859: 2857: 2856: 2841: 2829: 2827:, p. 161. 2817: 2805: 2771: 2732: 2730:, p. 173. 2720: 2704: 2688: 2686:, p. 110. 2676: 2659: 2647: 2645:, p. 165. 2635: 2631:Blackburn 2001 2618: 2591: 2576: 2564: 2552: 2548:Robertson 2015 2540: 2528: 2516: 2504: 2502:, p. 155. 2492: 2490:, p. 100. 2480: 2478:, p. 394. 2468: 2466:, p. 399. 2456: 2444: 2432: 2420: 2418:, p. 164. 2393: 2391:, p. 138. 2389:Wasserman 1975 2376: 2374:, p. 236. 2364: 2362:, p. 163. 2345: 2343:, p. 160. 2322: 2320:, p. 339. 2310: 2291: 2268: 2266:, p. 100. 2243: 2228: 2226:, p. 239. 2213: 2211:, p. 165. 2186: 2184:, p. 238. 2157: 2132: 2113: 2098: 2096:, p. 122. 2083: 2081:, p. 237. 2066: 2051: 2036: 2017: 1996: 1994:, p. 225. 1951: 1934: 1911: 1852: 1850:, p. 105. 1833: 1788: 1775: 1773: 1770: 1768: 1767: 1754: 1745: 1736: 1711: 1691: 1689: 1688: 1676: 1664: 1652: 1629: 1620: 1608:study for the 1599: 1489: 1480: 1435: 1401: 1399: 1396: 1394: 1391: 1376: 1355: 1354:Interpretation 1352: 1323: 1320: 1249: 1246: 1221: 1218: 1199:"), "Cantuz" ( 1189: 1450–55 1160: 1157: 1101: 1098: 1034: 1031: 977: 976: 967: 966: 958: 957: 949: 948: 947: 946: 945: 943: 940: 873:panel painting 837: 834: 833: 832: 815: 808: 806: 793: 786: 784: 772:Il Condottiere 769: 762: 717:Il Condottiere 688:Vincenzo Foppa 670: 667: 665: 662: 644:in the Louvre 622: 619: 606:Carlo Pedretti 461: 458: 454:Windsor Castle 397: 394: 355: 352: 283: 280: 278: 275: 216:panel painting 171:, and perhaps 134: 133: 124: 120: 119: 116: 112: 111: 106: 102: 101: 90:(and possibly 85: 81: 80: 71: 67: 66: 61: 57: 56: 48: 47: 33: 32: 15: 9: 6: 4: 3: 2: 4748: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4698: 4696: 4689: 4684: 4679: 4674: 4672: 4662: 4661: 4658: 4645: 4637: 4636: 4632: 4629: 4628: 4625: 4619: 4617: 4613: 4611: 4610: 4606: 4604: 4601: 4599: 4596: 4594: 4592: 4588: 4586: 4585: 4580: 4578: 4575: 4573: 4570: 4568: 4565: 4564: 4562: 4558: 4552: 4549: 4547: 4544: 4540: 4537: 4536: 4535: 4532: 4531: 4529: 4525: 4519: 4518:Andrea Solari 4516: 4514: 4511: 4509: 4506: 4504: 4501: 4499: 4496: 4494: 4491: 4489: 4486: 4484: 4481: 4479: 4476: 4474: 4471: 4469: 4466: 4464: 4461: 4460: 4458: 4456: 4452: 4446: 4443: 4441: 4438: 4436: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4385: 4384: 4380: 4378: 4377:Architonnerre 4375: 4374: 4372: 4368: 4362: 4361: 4357: 4355: 4352: 4350: 4347: 4345: 4342: 4340: 4337: 4335: 4334:Codex Arundel 4332: 4330: 4329:Codex Windsor 4327: 4325: 4322: 4321: 4319: 4315: 4305: 4304: 4300: 4298: 4297: 4293: 4291: 4290: 4286: 4284: 4283: 4279: 4277: 4276: 4272: 4269: 4266: 4263: 4262: 4258: 4257: 4255: 4253: 4246: 4240: 4239: 4235: 4234: 4232: 4230: 4225: 4219: 4218: 4214: 4212: 4211: 4207: 4205: 4204: 4200: 4199: 4197: 4195: 4190: 4184: 4183: 4179: 4177: 4176: 4172: 4170: 4169: 4165: 4163: 4162: 4161:Vitruvian Man 4158: 4156: 4155: 4151: 4149: 4148: 4144: 4142: 4141: 4137: 4136: 4134: 4130: 4123: 4122: 4118: 4116: 4115: 4111: 4109: 4108: 4104: 4103: 4101: 4097: 4087: 4086: 4082: 4080: 4079: 4075: 4073: 4072: 4068: 4066: 4065: 4061: 4059: 4058: 4054: 4053: 4051: 4047: 4041: 4040: 4036: 4034: 4033: 4029: 4027: 4026: 4022: 4020: 4019: 4015: 4012: 4011: 4007: 4004: 4003: 3999: 3996: 3995: 3991: 3989: 3988: 3984: 3982: 3981: 3977: 3975: 3974: 3970: 3968: 3967: 3963: 3960: 3959: 3955: 3953: 3952: 3948: 3945: 3944: 3943:Madonna Litta 3940: 3938: 3937: 3933: 3931: 3930: 3926: 3924: 3923: 3919: 3917: 3916: 3912: 3910: 3909: 3905: 3902: 3901: 3897: 3895: 3894: 3890: 3889: 3887: 3883: 3877: 3876:Personal life 3874: 3872: 3869: 3867: 3866:List of works 3864: 3863: 3860: 3856: 3849: 3844: 3842: 3837: 3835: 3830: 3829: 3826: 3820: 3818: 3814: 3812: 3810: 3806: 3805: 3794: 3788: 3784: 3779: 3778: 3766: 3765: 3760: 3755: 3751: 3747: 3743: 3739: 3735: 3731: 3724: 3722:9781561592630 3718: 3714: 3710: 3706: 3702: 3701: 3695: 3690: 3685: 3681: 3674: 3672:9781884446054 3668: 3664: 3660: 3656: 3652: 3651: 3645: 3640: 3636: 3632: 3625: 3623:9781561592630 3619: 3615: 3611: 3607: 3603: 3602: 3597: 3596:Chater, James 3592: 3587: 3583: 3579: 3575: 3571: 3567: 3566:Arte Lombarda 3562: 3558: 3551: 3545: 3541: 3537: 3533: 3529: 3528: 3522: 3517: 3513: 3509: 3502: 3496: 3492: 3488: 3484: 3480: 3479: 3473: 3467: 3463: 3459: 3455: 3451: 3447: 3443: 3438: 3426: 3425: 3420: 3416: 3412: 3400: 3396: 3395: 3390: 3386: 3382: 3381: 3376: 3375: 3369: 3363: 3359: 3355: 3351: 3347: 3343: 3337: 3333: 3329: 3325: 3321: 3317: 3311: 3307: 3303: 3298: 3294: 3288: 3284: 3280: 3276: 3275: 3270: 3266: 3262: 3258: 3254: 3250: 3246: 3245: 3240: 3236: 3232: 3226: 3222: 3218: 3214: 3210: 3206: 3200: 3196: 3192: 3188: 3184: 3178: 3174: 3170: 3166: 3162: 3156: 3152: 3148: 3147: 3141: 3137: 3133: 3129: 3124: 3120: 3114: 3110: 3106: 3101: 3097: 3091: 3087: 3083: 3078: 3074: 3068: 3064: 3060: 3056: 3052: 3048: 3042: 3038: 3034: 3033: 3028: 3024: 3020: 3014: 3010: 3006: 3001: 2997: 2991: 2986: 2981: 2977: 2973: 2968: 2964: 2960: 2956: 2955:Penguin Books 2952: 2948: 2944: 2940: 2934: 2930: 2929:Penguin Books 2926: 2921: 2917: 2913: 2909: 2905: 2901: 2897: 2893: 2889: 2883: 2879: 2875: 2871: 2870: 2865: 2864: 2854:, p. 77. 2853: 2848: 2846: 2838: 2833: 2826: 2821: 2814: 2809: 2793: 2789: 2785: 2781: 2775: 2759: 2755: 2751: 2747: 2743: 2736: 2729: 2724: 2717: 2713: 2712:Beltrami 1919 2708: 2701: 2697: 2692: 2685: 2680: 2673: 2668: 2666: 2664: 2656: 2651: 2644: 2639: 2632: 2627: 2625: 2623: 2616:, p. 75. 2615: 2610: 2608: 2606: 2604: 2602: 2600: 2598: 2596: 2589:, p. 76. 2588: 2583: 2581: 2573: 2568: 2561: 2556: 2549: 2544: 2537: 2532: 2525: 2520: 2513: 2508: 2501: 2496: 2489: 2484: 2477: 2472: 2465: 2460: 2453: 2448: 2442:, p. 86. 2441: 2436: 2430:, p. 85. 2429: 2424: 2417: 2412: 2410: 2408: 2406: 2404: 2402: 2400: 2398: 2390: 2385: 2383: 2381: 2373: 2372:Isaacson 2017 2368: 2361: 2356: 2354: 2352: 2350: 2342: 2337: 2335: 2333: 2331: 2329: 2327: 2319: 2314: 2307: 2302: 2300: 2298: 2296: 2289:, p. 96. 2288: 2283: 2281: 2279: 2277: 2275: 2273: 2265: 2260: 2258: 2256: 2254: 2252: 2250: 2248: 2240: 2235: 2233: 2225: 2224:Isaacson 2017 2220: 2218: 2210: 2205: 2203: 2201: 2199: 2197: 2195: 2193: 2191: 2183: 2182:Isaacson 2017 2178: 2176: 2174: 2172: 2170: 2168: 2166: 2164: 2162: 2155:, p. 97. 2154: 2149: 2147: 2145: 2143: 2141: 2139: 2137: 2130:, p. 68. 2129: 2128:Pedretti 1982 2124: 2122: 2120: 2118: 2111:, p. 73. 2110: 2105: 2103: 2095: 2090: 2088: 2080: 2079:Isaacson 2017 2075: 2073: 2071: 2063: 2062:Isaacson 2017 2058: 2056: 2049:, p. 45. 2048: 2043: 2041: 2034:, p. 74. 2033: 2028: 2026: 2024: 2022: 2015:, p. 55. 2014: 2009: 2007: 2005: 2003: 2001: 1993: 1988: 1986: 1984: 1982: 1980: 1978: 1976: 1974: 1972: 1970: 1968: 1966: 1964: 1962: 1960: 1958: 1956: 1949:, p. 62. 1948: 1947:Pedretti 2006 1943: 1941: 1939: 1932:, p. 83. 1931: 1926: 1924: 1922: 1920: 1918: 1916: 1909:, p. 95. 1908: 1903: 1901: 1899: 1897: 1895: 1893: 1891: 1889: 1887: 1885: 1883: 1881: 1879: 1877: 1875: 1873: 1871: 1869: 1867: 1865: 1863: 1861: 1859: 1857: 1849: 1844: 1842: 1840: 1838: 1831:, p. 47. 1830: 1825: 1823: 1821: 1819: 1817: 1815: 1813: 1811: 1809: 1807: 1805: 1803: 1801: 1799: 1797: 1795: 1793: 1785: 1780: 1776: 1764: 1758: 1749: 1740: 1733: 1729: 1725: 1721: 1715: 1701: 1695: 1680: 1679:Zöllner (2019 1677: 1668: 1665: 1656: 1653: 1644: 1641: 1640: 1636: 1634: 1624: 1617: 1613: 1611: 1603: 1592: 1588: 1584: 1580: 1574: 1569: 1565: 1557: 1553: 1549: 1545: 1541: 1537: 1533: 1529: 1525: 1521: 1515: 1510: 1506: 1502: 1498: 1493: 1484: 1477: 1473: 1469: 1465: 1461: 1457: 1456:Zöllner (2019 1453: 1449: 1445: 1439: 1432: 1428: 1424: 1420: 1416: 1412: 1406: 1402: 1390: 1382: 1375: 1370: 1368: 1367: 1362: 1351: 1349: 1345: 1341: 1337: 1333: 1329: 1319: 1317: 1313: 1309: 1305: 1303: 1299: 1297: 1291: 1286: 1282: 1276: 1271: 1263: 1259: 1254: 1245: 1242: 1238: 1237:Netherlandish 1227: 1217: 1214: 1210: 1206: 1202: 1198: 1194: 1193:Sforza family 1183: 1177: 1172: 1166: 1156: 1152: 1150: 1146: 1142: 1138: 1134: 1130: 1122: 1118: 1097: 1095: 1094:clerical robe 1090: 1085: 1080: 1077: 1071: 1066: 1061: 1056: 1051: 1050: 1044: 1040: 1039:Luca Beltrami 1030: 1028: 1024: 1021: 1016: 1012: 1008: 997: 993: 987: 983: 971: 962: 953: 939: 937: 933: 929: 925: 921: 916: 914: 913:it was looted 910: 906: 901: 899: 895: 894: 887: 882: 878: 874: 870: 863: 859: 858: 853: 849: 848: 842: 829: 818: 812: 807: 796: 790: 785: 773: 766: 761: 760: 759: 757: 753: 742: 737: 733: 732:Daniel Arasse 729: 725: 724: 718: 713: 709: 705: 701: 697: 693: 689: 685: 681: 676: 661: 659: 653: 651: 647: 643: 639: 628: 618: 615: 611: 607: 600: 595: 592: 588: 587: 582: 581:X-ray testing 578: 574: 570: 569: 564: 560: 556: 555: 550: 549: 545: 541: 536: 534: 531:, another of 530: 526: 522: 518: 514: 510: 509:Duke of Milan 506: 502: 498: 494: 486: 482: 471: 466: 457: 455: 451: 447: 443: 439: 434: 429: 425: 420: 414: 413:musical notes 406: 402: 393: 391: 387: 382: 376: 374: 370: 366: 362: 351: 348: 344: 343: 338: 337: 331: 330:Frank Zöllner 326: 324: 320: 316: 315:Kenneth Clark 312: 308: 304: 300: 292: 288: 274: 272: 268: 264: 260: 256: 252: 248: 244: 243:Duke of Milan 240: 235: 233: 229: 225: 221: 217: 213: 209: 208: 203: 202: 197: 193: 189: 184: 182: 178: 174: 170: 166: 155: 151: 147: 143: 142: 132: 128: 125: 121: 117: 113: 110: 107: 103: 100: 97: 93: 89: 86: 82: 72: 68: 65: 62: 58: 54: 49: 46: 44: 38: 34: 29: 26: 22: 4688: 4615: 4607: 4590: 4583: 4493:Cesare Magni 4478:Giampietrino 4455:Leonardeschi 4400:Aerial screw 4381: 4358: 4344:Codex Madrid 4301: 4294: 4287: 4280: 4275:Christ Child 4273: 4259: 4249: 4236: 4228: 4215: 4208: 4201: 4193: 4180: 4173: 4166: 4159: 4152: 4145: 4138: 4124:(unexecuted) 4121:Sforza Horse 4119: 4112: 4105: 4083: 4076: 4069: 4062: 4055: 4037: 4030: 4023: 4016: 4008: 4000: 3992: 3985: 3978: 3971: 3964: 3957: 3956: 3949: 3941: 3934: 3927: 3920: 3913: 3906: 3898: 3891: 3816: 3808: 3782: 3762: 3741: 3698: 3648: 3639:Kemp, Martin 3599: 3569: 3565: 3525: 3476: 3445: 3441: 3429:. Retrieved 3422: 3403:. Retrieved 3401:. p. 83 3392: 3353: 3327: 3304:. New York: 3301: 3279:New Horizons 3272: 3248: 3243: 3216: 3194: 3172: 3145: 3127: 3107:. New York: 3104: 3085: 3081: 3061:. New York: 3058: 3055:Kemp, Martin 3035:. New York: 3031: 3008: 3004: 2971: 2950: 2924: 2903: 2899: 2877: 2852:Fagnart 2019 2837:Vezzosi 1997 2832: 2820: 2808: 2796:. Retrieved 2774: 2762:. Retrieved 2749: 2735: 2728:Venturi 1920 2723: 2707: 2691: 2679: 2650: 2638: 2614:Fagnart 2019 2587:Fagnart 2019 2567: 2560:Bambach 2019 2555: 2543: 2531: 2519: 2507: 2495: 2483: 2471: 2459: 2447: 2435: 2423: 2367: 2313: 2239:Fagnart 2019 2109:Fagnart 2019 2047:Zöllner 2015 2032:Fagnart 2019 1992:Zöllner 2019 1930:Bambach 2012 1784:Zöllner 2015 1779: 1762: 1757: 1748: 1739: 1719: 1714: 1694: 1655:Marani (2003 1623: 1615: 1609: 1602: 1595:Castelfranco 1536:Goldscheider 1509:Schiaparelli 1492: 1483: 1468:Fiorio (2014 1460:Marani (2003 1443: 1438: 1430: 1426: 1422: 1410: 1405: 1387: 1380: 1372: 1364: 1357: 1347: 1339: 1332:Eugène Müntz 1327: 1325: 1315: 1306: 1300: 1267: 1261: 1223: 1168: 1153: 1148: 1126: 1120: 1116: 1084:iconographic 1081: 1036: 1026: 1022: 1004: 995: 991: 985: 981: 935: 927: 919: 917: 908: 902: 891: 868: 866: 861: 855: 851: 845: 827: 816: 794: 755: 740: 735: 721: 711: 674: 672: 657: 654: 645: 637: 624: 602: 597: 584: 576: 572: 566: 562: 558: 552: 546: 537: 516: 492: 490: 484: 469: 410: 389: 381:proper right 377: 373:conservation 369:underpainted 357: 354:The musician 340: 334: 327: 322: 301:and perhaps 296: 247:overpainting 236: 232:his students 214:is his only 211: 205: 199: 185: 140: 139: 137: 79:(unfinished) 40: 25: 4683:Visual arts 4317:Manuscripts 4229:Last Supper 3586:Harrán, Don 3431:12 December 3405:12 December 3213:Syson, Luke 2825:Marani 2003 2813:Marani 2003 2742:Martin Kemp 2698:, pp. 2655:Harrán 2001 2643:Marani 1999 2536:Barone 2013 2500:Fiorio 2014 2476:Arasse 1998 2464:Arasse 1998 2452:Marani 2003 2416:Marani 2003 2360:Marani 2003 2341:Marani 2003 2318:Marani 2003 2209:Marani 2003 2094:Palmer 2018 1732:Fiorio 2014 1724:Marani 2003 1707: 1482 1686: 1485 1662: 1485 1583:Hildebrandt 1571: [ 1544:Heydenreich 1512: [ 1383:(1490–1492) 1288: [ 1273: [ 1197:Contratenor 1174: [ 1007:restoration 980:(Left) The 884: [ 780: 1475 642:chiaroscuro 477: 1490 460:Attribution 428:Martin Kemp 396:Sheet music 311:sheet music 307:walnut wood 293:of the face 282:Composition 277:Description 251:sheet music 177:walnut wood 156:, dated to 4695:Categories 4390:Great Kite 4250:Virgin and 4099:Sculptures 3703:. Oxford: 3653:. Oxford: 3604:. Oxford: 3591:"Frottola" 3530:. Oxford: 3481:. Oxford: 3253:Zanichelli 3219:. London: 3149:. Lanham: 2916:1000856466 2786:. London: 2752:. London: 2714:, p. 2013:Clark 1961 1848:Brown 1983 1718:The Brera 1643:Kemp (2019 1393:References 1163:See also: 836:Provenance 720:) and the 664:Background 540:commission 450:Print Room 386:Luke Syson 359:his black 224:commission 210:, but the 115:Dimensions 4591:Mona Lisa 4572:Namesakes 4445:World Map 4025:Mona Lisa 3885:Paintings 3732:required) 3691:(2011) . 3682:required) 3633:required) 3559:required) 3510:required) 3352:(2019) . 3261:974188298 3136:563510314 2524:Bell 2003 2306:Kemp 2003 1829:Kemp 2019 1772:Citations 1336:Rembrandt 1131:musician 1119:(center) 1015:overpaint 907:took the 750:) in the 4671:Painting 4644:Category 4405:Crossbow 3750:25167380 3641:(2003). 3588:(2001). 3578:43105426 3518:(2001). 3462:24423435 3427:. 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