Pietro Marani

Maria Teresa Fiorio

A vast catalog dedicated to Leonardo’s entire oeuvre on the occasion of the largest exhibition realized on the genius, symbol of Italian art and creativity, during Milan Expo 2015. This volume represents a unique opportunity to admire and understand Leonardo’s extraordinary complexity as an artist, painter, and sketcher, and, in part, his work as a scientist and technologist. This alluring volume is meant to illustrate, through twelve sections, some central themes in Leonardo’s entire artistic and scientific career, underlining some constants in his vision as an artist and a scientist, as well as his interdisciplinary vocation and continuous intermingling of interests. The catalog gathers oeuvres signed by Leonardo—paintings, drawings, and manuscripts—introduced by works from his predecessors—painters, sculptors, technicians, theorists—which can contextualize Leonardo’s contribution to the history of art, science, and technology while offering, at the same time, a vision of Leonardo the artist and scientist of his age, without giving in to mythmaking and banality. Two final sections show the influence of Leonardo the painter and art theorist on the modern era and the creation of his legend, centered on the Mona Lisa.The volume also includes masterpiece paintings by Leonardo, some of his original codes, and over one hundred signed drawings, as well as a considerable number of artworks, drawings, manuscripts, sculptures, and codes from major museums and libraries around the world and from private collections, with works by Antonello da Messina, Botticelli, Filippino Lippi, Paolo Uccello, Ghirlandaio, Verrocchio, Antonio and Piero del Pollaiolo, Jan van Eyck, and Bramante, just to name a few.

1452-1519

Leonardo

For the first time since its restoration, the copy of the Last Supper by Leonardo da Vinci, a tapestry made between 1505 and 1510, commissioned by Louise de Savoie and François, Duke of Angoulême, future king of France, is unveiled to the public. The tapestry, a monumental work of 6.5m x 9m, preserved in the Vatican Museums, was probably woven in Flanders by a Lombard artist, such as Bramantin or Marcod'Oggiono, artists known to have painted, as early as 1503, copies of the Leonardo's fresco. The tapestry represents one of the first copies of the masterpiece intended for the French court and testifies to the admiration of the kings of France for the artist.This book will also highlight the previous relationship between Louis XII's court and the Italian master and his disciples, such Andrea Solario, Andrea del Sarto and Bernadino de Conti.The essays will also focus on Leonardo da Vinci's journey to and stay in France, through some copies of his most famous paintings and prints, prints and watercolors. Specialists in both Leonard's art and the tapestry of the sixteenth and seventeenth centuries shed light on the provenance and making of this work, as well as it's meticulous restoration.

Pietro Marani

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