Zobrazeno 1 - 10
of 17
pro vyhledávání: '"Margaret Dalivalle"'
Publikováno v:
Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts
Chapter 4 examines the two surviving drawings for Christ’s draperies at Windsor, their attribution, and their place in the chronology of Leonardo’s drawing styles. The use of red chalk on red paper favours a later date for the drawings, as does t
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https://doi.org/10.1093/oso/9780198813835.003.0005
https://doi.org/10.1093/oso/9780198813835.003.0005
Publikováno v:
Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts
Chapter 11 considers access to Leonardo’s Salvator Mundi in England c. 1630–50. It proposes that the painting was inaccessible in the queen’s private apartments in the 1630s, which accounts for its invisibility in surviving documentation and it
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https://doi.org/10.1093/oso/9780198813835.003.0012
https://doi.org/10.1093/oso/9780198813835.003.0012
Chapter 9 considers incidences of direct contact with Leonardo’s works by Britons abroad and at the Caroline court in London; that is, first-hand experience of the artist. Although the opportunity to view or handle drawings, manuscripts, or paintin
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https://doi.org/10.1093/oso/9780198813835.003.0010
https://doi.org/10.1093/oso/9780198813835.003.0010
The Introduction sets the scene for the rest of the book, namely, the case of the lost and found masterpiece by Leonardo da Vinci, the Salvator Mundi. The book aims to set out a comprehensive analysis of this essential addition to Leonardo‗s oeuvre
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https://doi.org/10.1093/oso/9780198813835.003.0001
Publikováno v:
Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts
Chapter 2 opens the second section of the book, where the painting and its place in Leonardo’s body of work is considered. This chapter, on Leonardo and the ineffable, considers the way that he evoked the spiritual in his paintings, above all in hi
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https://doi.org/10.1093/oso/9780198813835.003.0003
https://doi.org/10.1093/oso/9780198813835.003.0003
Chapter 13 examines the administration of the Commonwealth Sale and the identity and political activities of Capt. John Stone, leader of the Sixth Dividend, to whom a Salvator Mundi attributed to Leonardo da Vinci was disbursed on 23 October 1651. St
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https://doi.org/10.1093/oso/9780198813835.003.0014
https://doi.org/10.1093/oso/9780198813835.003.0014
Chapter 10 discusses the appraisal of paintings relating to Leonardo and his school in seventeenth-century England and the state of understanding and connoisseurship of the artist at that time. The chapter focuses on the paintings relating to Leonard
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https://doi.org/10.1093/oso/9780198813835.003.0011
https://doi.org/10.1093/oso/9780198813835.003.0011
From the evidence of contemporary literary sources, manuscript inventories, correspondence, and eyewitness accounts, Chapter 8 considers the penetration of literary concepts of Leonardo as an artist and thinker (pictor doctus), how the early receptio
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https://doi.org/10.1093/oso/9780198813835.003.0009
Publikováno v:
Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts
Chapter 14 surveys the return of royal goods to Charles II at the Restoration of the Crown in 1660 and identifies the Greenwich Salvator Mundi, disbursed and returned by Capt. John Stone in the royal inventory of c. 1666. The chapter reviews the indi
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https://doi.org/10.1093/oso/9780198813835.003.0015
Publikováno v:
Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts
The Epilogue looks at two sustained and focused discussions by cataloguers of Leonardo paintings. The first is by Luke Syson in the London catalogue. The second is in the latest edition of Frank Zöllner‗s monograph, which has become a standard poi
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https://doi.org/10.1093/oso/9780198813835.003.0017