The ever increasing art historical attention being paid to the School of Leonardo lies at the root of this volume published almost sixty years after Suida's classic treatment of the subject. This is the first time since then that Lombard art of Leonardesque inspiration has been the object of a systematic analysis embracing a period of around half a century starting from 1490. The essays opening the volume provide an overview dealing with the environment, the organisation and the working practices of Leonardo's atelier and the problems faced by historians, whilst each artist is discussed in a critical profile that, taking into account the most recent academic research, acts a brief but up-to-date monograph.
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The ever increasing art historical attention being paid to the School of Leonardo lies at the root of this volume published almost sixty years after Suida's classic treatment of the subject. This is the first time since then that Lombard art of Leonardesque inspiration has been the object of a systematic analysis embracing a period of around half a century starting from 1490. On the 22nd of September of that year, in fact, Leonardo recorded the presence of Marco d'Oggiono in his workshop at Milan: this, for us, is the first clue to the existence of a school associated with the Florentine master and the point of departure for the adventure of the "Leonardesques."
The essays opening the volume provide an overview dealing with the environment, the organisation and the working practices of Leonardo's atelier and the problems faced by historians, whilst each artist is discussed in a critical profile that, taking into account the most recent academic research, acts a brief up-to-date monograph.
Also available from Abbeville Press
Michelangelo: the Pietà
Lorenzo Lotto.
The Frescoes in the Oratorio Suardi at Trescore
Pieter Bruegel the Elder at the Kunsthistorisches Museum in Vienna
The essays opening the volume provide an overview dealing with the environment, the organisation and the working practices of Leonardo's atelier and the problems faced by historians, whilst each artist is discussed in a critical profile that, taking into account the most recent academic research, acts a brief up-to-date monograph.
Also available from Abbeville Press
Michelangelo: the Pietà
Lorenzo Lotto.
The Frescoes in the Oratorio Suardi at Trescore
Pieter Bruegel the Elder at the Kunsthistorisches Museum in Vienna
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5.0 out of 5 stars
Essential compilation on Leonardos pupils and followers,
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This review is from: The Legacy of Leonardo: Painters in Lombardy 1490-1530 (Hardcover)
The followers of Leonardo da Vinci are often blamed for lack of personal style. This book helps to discern the individual work of every single painter. It comes clear that the work of Giovanni Antonio Boltraffio, Cesare da Sesto or Bernardino Luini deserves closer inspection. In my opinion the meticulous and noteworthy well balanced portraiture of Boltraffio is a major discovery. By the way the painting on p.381 indicated as "copy after Francesco Melzi" might be a copy after Boltraffio. Still this beautifully illustrated volume remains a must book for the lovers of renaissance art.
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