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Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. Instead, an atmospheric phenomenon gives it an indigo color. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. [6], Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. [9] It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. The Soumaya Museum's "Madonna of the Yarnwinder" was analyzed in the Carlos Slim Foundation's Conservation Laboratory, which uncovered a few brush strokes beneath the oil painting. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. The contrast between light and shadow achieves an effect of volume and plasticity. [5], In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. Infrared False-Color (IRFC) image analysis makes it possible to examine some of the pigments used to create the work. The second part of the chapter focuses on the many versions of the Madonna of the Yarnwinder … [4] The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 (though the authenticity of the inventory has been called into question). The painting was then taken to a lawyer's office in Glasgow;[18] this was raided by police officers from four anti-crime agencies during a meeting of five people. It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. Madonna of the Yarnwinder by Leonardo da Vinci. Soumaya Museum, Carlos Slim Foundation. The Virgin’s reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. A photograph taken before the work arrived at Soumaya shows the presence of a subtle material that was later removed, as it did not coincide with the original design. Leonardo achieves this emotional intensity through his astute observation of human emotions. The Madonna of the Yarnwinder (Italian: Madonna dei Fusi, “Madonna of the Spindles”) is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. [13] It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. [25], The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. These mention a “Madonna with a Child in her Arms”. Jesus's gaze is deeply evocative. The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother’s embrace, his eye caught by her yarnwinder whose spokes give it the shape of a cross; he precociously recognises it as a symbol of his destiny. However, the Lansdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. This panel was painted for Florimond Robertet, a secretary to Louis XII of France. State-of-the-art detective work by two art historians has uncovered the hidden story behind one of Leonardo’s most influential paintings. A clear and easily understood message in this painting ; all we need is! In her Arms ” and symbolizes patience and experience the divine plan gesture of suspense made with her hand. Not totally transparent not totally transparent Yarnwinder, Leonardo da Vinci delivered to the French court in 1507, scholars! 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