Leonardo
da Vinci

1452 - 1519

 
 
     
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     Leonardo da Vinci
 
   
     CONTENTS:
 
   
     1452-1481 Leonardo in the Florence of the Medici    
     1482-1499 At the court of Ludovico il Moro    
     1500-1508 The return to Florence    
     1508-1513 The Milan of Charles d'Amboise    
     1513-1519 The last years: Rome and France    
         
 
 

                  

 


Leonardo da Vinci
Self-Portrait
c. 1512

   

     


1508-1513


The Milan of Charles d'Amboise
 

 

 

 


Bramantino and Gaudenzio
 

 

Despite differences in cultural backgrounds and interests, Bramantino and Gaudenzio were distinguished in the artistic environment of Milan for their originality, partly as a consequence of their association with Leonardo. Influenced in his youth by Butinone and the graphic style of the Padua and Ferrara schools, and then a pupil of Bramante, from whom he derived a flair for monumentality and drama, Bramantino was also an architect (Trivulzio Mausoleum). In his mature classical manner, as in his drawings for the Trivulzio tapestries, the painter consistently reverted to central perspectives. Moving to Rome (1508) as decorator of the Vatican Stanze, his style took on a modern tone. Bramantino's work influenced the Piedmontese Gaudenzio Ferrari, a talented painter and modeller who owed much to the Lombard artists and to Leonardo, as well as to Perugino, Raphael, Diirer, and the Flemish school. He reached full maturity with various religious paintings in the Piedmont region and subsequently founded a flourishing workshop in Milan, working at Santa Maria della Pace, Santa Maria della Passione, and other churches.

 


Bramantino,
The Month of April, Trivulzio tapestry woven around 1509 by Vigevano tapestry makers, Sforza Castle, Milan.
 

 


 Bramantino,
Madonna of the Towers, end of second decade of 16th century, Pinacoteca Ambrosiana, Milan.
In the last phases of his career, Bramantino's style became increasingly monumental and enigmatic,
conceived on the principles of perfect symmetry and total stillness.


 

            

Bramantino, The Nativity, last decade of 15th century, Pinacoteca Ambrosiana, Milan.
Modelled upon Butinone, the painter uses perspective to good effect.


 

 

 


 Gaudenzio Ferrari, The Last Supper, 1543, Santa Maria della Passione, Milan.
In contrast to Leonardo's Last Supper, Gaudenzio, who was responsive to the romantic pictorial trends of the 1540s,
interprets the event in the grandiose manner characteristic of the new Mannerism.
The scene, animated by a narrative rhythm of great energy, opens on to an urban background dominated
by a centrally planned temple.

          


Gaudenzio Ferrari, Martyrdom of St Catherine, Brera, Milan.
The altarpiece from Sant'Angelo testifies to the muscular power and formal innovation of the painter's late period.
 

 

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