Giacobbe Giusti, LEONARDO DA VINCI: Madonna Litta, Hermitage Museum, Saint Petersburg

Giacobbe Giusti, LEONARDO DA VINCI: Madonna Litta, Hermitage Museum, Saint Petersburg

 

Giacobbe Giusti, LEONARDO DA VINCI: Madonna Litta, Hermitage Museum, Saint Petersburg

 

Giacobbe Giusti, LEONARDO DA VINCI: Madonna Litta, Hermitage Museum, Saint Petersburg

 

Artist	Attributed to Leonardo da Vinci
Year	c. 1490
Type	Tempera on canvas (transferred from panel)
Dimensions	42 cm × 33 cm (17 in × 13 in)
Location	Hermitage Museum, Saint Petersburg

The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Marybreastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo’s earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.

Scholarly opinion is divided on the work’s attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d’Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

History

The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo’s studio before or during his first Milanese period (c.1481–3 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”.^[1] The Virgin’s head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo’s first Florentineperiod and left unfinished until it was later worked up by a pupil in Milan.^[2] Scientific analysis of the painting has, however, suggested that it was produced by only one artist.^[3]

Leonardo da Vinci, Head of a young woman in near profile. Metalpoint heightened with white lead on grey prepared paper, 17.9 x 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376 recto.

Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpointdrawing of a young woman’s face in near profile, part of the Codex Vallardi in the Louvre(left). There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions.^[4]Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.^[5]

Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child’s head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin’s garments. These have been attributed to Boltraffio on the basis of the Berlin drawing’s similarity to other drapery studies by the artist.^[6] It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin’s right arm than the finished work, in which this is obscured by Christ’s head. This suggests that the composition was partly pieced together from these studies.

A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin’s face in strict profile and does not resemble the finished painting in the Hermitage.^[7] It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then “corrected” with the drawing in the Louvre.^[8]

Attribution

That the painting was regarded in Leonardo’s lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d’Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio.^[9] In the major exhibition on Leonardo’s first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but one art historian has remarked that this was “presumably a condition of the loan”.^[10]

Provenance

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca’ Contarini in that city in 1543:

There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished.^[11]

A foot in Venetian measurements was 34.7cm, rather less than the height of the painting in the Hermitage and closer to its width.^[12] The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.

In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico XII di Belgioioso from one Giuseppe Ro. After Belgioioso’s death in 1813 it passed into the collection of the Littafamily, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta,^[13] quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas.

References

Citations

1. Jump up^ Kemp 2001, pp. 263 and 293, n. 640
2. Jump up^ Kemp 2006, pp. 32–3
3. Jump up^ Syson et al. 2011, p. 222
4. Jump up^ Syson et al. 2011, pp. 228–9
5. Jump up^ Syson et al. 2011, pp. 230–1 (cat. no. 60)
6. Jump up^ Syson et al. 2011, p. 234
7. Jump up^ « Head of a Woman in Profile to Lower Left ». Heilbrunn Timeline of Art History. Metropolitan Museum of Art. Retrieved 4 July 2013.
8. Jump up^ Brown 2003, p. 26
9. Jump up^ Brown 2003, p. 27
10. Jump up^ Kemp, Martin (1 February 2012). « The National Gallery’s blockbuster exhibition could mark a turning point for Leonardo scholars ». The Art Newspaper. Retrieved 16 June 2013.
11. Jump up^ Quoted in Syson et al. 2011, p. 224
12. Jump up^ Syson et al. 2011, p. 224
13. Jump up^ Syson et al. 2011, p. 224, n. 5

Bibliography

Brown, David Alan (2003). Leonardo da Vinci: Art and Devotion in the Madonnas of his Pupils. Biblioteca d’arte. Cinisello Balsamo, Milan: Silvana Editoriale.

Fiorio, Maria Teresa (2000). Giovanni Antonio Boltraffio: Un pittore milanese nel lume di Leonardo. Milano: Jandi Sapi Editori. pp. 81–3. (cat. no. A3)

Kemp, Martin, ed. (2001). Leonardo on Painting: An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career as an artist. Nota Bene. New Haven and London: Yale University Press.

Kemp, Martin (2006). Leonardo da Vinci: The Marvellous Works of Nature and Man. Oxford: Oxford University Press.

Syson, Luke; Keith, Larry; Galansino, Arturo; Mazzotta, Antonio; Nethersole, Scott; Rumberg, Per (2011). Leonardo da Vinci: Painter at the Court of Milan. London: National Gallery

 Media related to Madonna Litta at Wikimedia Commons

hide v t e Leonardo da Vinci
List of works Science and inventions Personal life
Paintings	Medusa The Annunciation The Baptism of Christ The Madonna of the Carnation Ginevra de’ Benci Benois Madonna The Adoration of the Magi St. Jerome in the Wilderness Madonna Litta Virgin of the Rocks Portrait of a Musician Lady with an Ermine The Madonna and Child with the Infant St. John the Baptist The Holy Infants Embracing La Belle Ferronnière Salvator Mundi Madonna of the Yarnwinder The Virgin and Child with St. Anne Mona Lisa Head of a Woman (La Scapigliata) Leda and the Swan St. John the Baptist
Works on walls	The Last Supper Sala delle Asse The Battle of Anghiari
Sculptures	Sforza monument (unexecuted) Horse and Rider Rearing Horse and Mounted Warrior
Works on paper	Vitruvian Man Portrait of a Young Fiancée The Virgin and Child with St Anne and St John the Baptist Head of Christ The Martyrdom of St Sebastian Self-portrait Studies of the Fetus in the Womb
Manuscripts	Codex Arundel Codex Atlanticus Codex on the Flight of Birds Codex Leicester Codex Madrid Codex Trivulzianus A Treatise on Painting
Museums	Museo Nazionale Scienza e Tecnologia Leonardo da Vinci (Milan) Museo Ideale Leonardo da Vinci (Vinci)
Other projects	De divina proportione Architonnerre Leonardo’s crossbow Leonardo’s fighting vehicle Leonardo’s robot Leonardo’s self-propelled cart Octant projection Viola organista
Leonardeschi	Giovanni Antonio Boltraffio Cesare da Sesto Giampietrino Giovanni Agostino da Lodi Bernardino Luini Cesare Magni Marco d’Oggiono Francesco Melzi Giovanni Ambrogio de Predis Salaì Andrea Solari
Related	Cultural references Conservation-restoration of The Last Supper Mona Lisa replicas and reinterpretations Things named after Leonardo

https://en.wikipedia.org/wiki/Madonna_Litta

http://www.giacobbegiusti.com

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

Giacobbe Giusti, GIAMPIETRINO: Magdalena Penitente, Hermitage

 

 

Bibliography[

• Bock, Darrell L. (2004), Breaking The Da Vinci Code, Nashville, Tennessee: Thomas Nelson, pp. 143–144, ISBN 978-1-4185-1338-2
• Bradshaw, Peter (February 27, 2018), « Mary Magdalene review – toothless attempt to overturn Sunday school myths: Rooney Mara brings her customary intensity to the title role as Jesus’ ‘favourite pupil’, but the result is a bit too solemn to be a convincing reinvention », The Guardian
• Campbell, Lorne (2009), « The New Pictorial Language of Rogier van der Weyden », in Campbell, Lorne; Van der Stock, Jan, Rogier Van Der Weyden: 1400-1464 : Master of Passions, Eugene, Oregon: Wipf & Stock, pp. 2–64, ISBN 9789085261056
• Carr, Flora (March 30, 2018), « The Real Reason Why Mary Magdalene Is Such a Controversial Figure », TIME
• Casey, Maurice (2010), Jesus of Nazareth: An Independent Historian’s Account of His Life and Teaching, New York City, New York and London, England: T & T Clark, ISBN 978-0-567-64517-3
• Crossan, John Dominic (1995), Jesus: A Revolutionary Biography, San Francisco, California: HarperOne, ISBN 0-06-061662-8
• « Life of Mary Magdalen », William Caxton‘s English version of the Golden Legend of Jacobus de Voragine
• Chilton, Bruce (2005), Mary Magdalene: A Biography, New York City, New York, London, England, Toronto, Ontario, Sydney, Australia, and Auckland, New Zealand: Image Doubleday, ISBN 978-0-385-51318-0
• Dalton, Stephen (February 27, 2018), « Mary Magdalene: Film Review », The Hollywood Reporter
• DeConick, April D. (2011), Holy Misogyny: Why the Sex and Gender Conflicts in the Early Church Still Matter, New York City, New York and London, England: Continuum International Publishing Group, ISBN 978-1-4411-9602-6
• Ehrman, Bart D. (2004), Truth and Fiction in The Da Vinci Code: A Historian Reveals What We Really Know about Jesus, Mary Magdalene, and Constantine, Oxford, England: Oxford University Press, ISBN 0-19-518140-9
• Ehrman, Bart D. (2006), Peter, Paul, and Mary Magdalene: The Followers of Jesus in History and Legend, Oxford, England: Oxford University Press, ISBN 978-0-19-530013-0
• Ehrman, Bart D. (2014), How Jesus Became God: The Exaltation of a Jewish Preacher from Galilee, New York City, New York: HarperOne, ISBN 978-0-06-177818-6
• Erhardt, Michelle; Morris, Amy (2012), « Introduction », Mary Magdalene: Iconographic Studies from the Middle Ages to the Baroque, Studies in Religion and the Arts, Leiden, The Netherlands: Brill, ISBN 978-90-04-23224-2
• Ferguson, George (1976) [1954], « St. Mary Magdalene », Signs and Symbols in Christian Art, Oxford, England: Oxford University Press, pp. 134–135
• Foss, Clive (1979), Ephesus After Antiquity: A Late Antique, Byzantine and Turkish City, Cambridge, England: Cambridge University Press, ISBN 0-521-22086-6
• Geneva Press (2008), The Presbyterian Handbook for Pastors, Louiseville, Kentucky: Geneva Press, ISBN 978-0-664-50299-7
• Green, Mary E. (2014), « Mary Magdalene, the Myrrh Bearer », Eyes to See: The Redemptive Purpose of Icons, New York City, New York, Harrisburg, Pennsylvania, and Denver Colorado: Morehouse Publishing, ISBN 978-0-8192-2939-7
• Haag, Michael (2016), The Quest For Mary Magdalene: History & Legend, London, England: Profile Books, ISBN 978-1847659385
• Hailes, Sam (March 6, 2018), « Why Mary Magdalene is the Hollywood film Christians have been waiting for: This new movie paints a clear picture of Jesus, says Sam Hailes », Premiere Christianity
• Haskins, Susan (2005) [1993], Mary Magdalen: Myth and Metaphor, New York City, New York: Pimplico, ISBN 1-8459-5004-6
• Herzog, William R. (2005), Prophet and Teacher: An Introduction to the Historical Jesus, Louisville, Kentucky: Westminster Knox Press, ISBN 0-664-22528-4
• Hinkle, Mary (2003) [1986], « Mary Magdalene », in Fahlbusch, Erwin; Lochman, Jan Milič; Mbiti, John; Pelikan, Jaroslav; Vischer, Lukas; Bromiley, Geoffrey W.; Barrett, David B., The Encyclopedia of Christianity, J-O, 3, Grand Rapids, Michigan, Cambridge, England, Leiden, The Netherlands, and Boston, Massachusetts: William B. Eerdmans Publishing Company and Brill, pp. 446–448, ISBN 0-8028-2415-3
• Johnston, Barbara, « Sacred Kingship and Royal Patronage in the La Vie de la Magdalene: Pilgrimage, Politics, Passion Plays, and the Life of Louise of Savoy » (Florida State), R. Neuman, Dissertation, PDF, 88–93
• Jones, Roger; Penny, Nicholas (1983), Raphael, New Haven, Connecticut: Yale University Press, ISBN 978-0300040524
• Kelly, Henry Ansgar (2006), Satan: A Biography, Cambridge, England: Cambridge University Press, ISBN 978-0521604024
• Kim, Young Richard (2015), Epiphanius of Cyprus: Imagining an Orthodox World, Ann Arbor, Michigan: University of Michigan Press, pp. 37–39, ISBN 978-0-472-11954-7
• King, Ross (2012), Leonardo and the Last Supper, New York City, New York and London, England: Bloomsbury, ISBN 978-0-7475-9947-0
• Kugelmann, Robert (1983), The Windows of Soul: Psychological Physiology of the Human Eye and Primary Glaucoma, London, England and Toronto, Canada: Associated University Presses, ISBN 0-8387-5035-4
• Lang, J. Stephen (2003), What the Good Book Didn’t Say: Popular Myths and Misconceptions About the Bible, New York City New York: Citadel Press, ISBN 0-8065-2460-X
• Levine, Amy-Jill; Allison, Dale C. Jr.; Crossan, John Dominic (October 16, 2006), The Historical Jesus in Context, Princeton, New Jersey: Princeton University Press, ISBN 0-691-00992-9
• Maisch, Ingrid (1998) [1996], Mary Magdalene: The Image of a Woman through the Centuries, translated by Maloney, Linda M., Collegeville, Minnesota: Liturgical Presss, ISBN 0-8146-2471-5
• Powell, Mark Allen (1998), Jesus as a Figure in History: How Modern Historians View the Man from Galilee, Louiseville, Kentucky: Westminster John Knox Press, p. 168, ISBN 978-0-664-25703-3
• Pringle, Denys (1998), « Magdala », The Churches of the Crusader Kingdom of Jerusalem: A Corpus, II: L-Z (excluding Tyre), Cambridge, England: Cambridge University Press, ISBN 0-521-39037-0
• Roper, Lyndal (2016), Martin Luther: Renegade and Prophet, New York City, New York: Random House, ISBN 9780812996203
• Sabar, Ariel (2016), « The Scholar Who Discovered the ‘Jesus’s Wife’ Fragment Now Says It’s Likely a Fake », The Atlantic
• Sanders, E. P. (1993), The Historical Figure of Jesus, London, England, New York City, New York, Ringwood, Australia, Toronto, Ontario, and Auckland, New Zealand: Penguin Books, ISBN 0-14-014499-4
• Schaberg, Jane (2004) [2002], The Resurrection of Mary Magdalene: Legends, Apocrypha, and the Christian Testament, New York City, New York and London, England: Continuum International Publishing Group, ISBN 0-8264-1645-4
• Strong, Steven; Strong, Evan (2008), Mary Magdalene’s Dreaming: A Comparison of Aboriginal Wisdom and Gnostic Scripture, Lanham, Maryland, Boulder, Colorado, New York City, New York, Toronto, Ontario, and Plymouth, England: University Press of America, ISBN 978-0-7618-4281-1
• Wilson, Kenneth (2011), Methodist Theology, Doing Theology, London, England and New York City, New York: Bloomsbury T & T Clark, ISBN 978-0-5670-8135-3
• Witcombe, Christopher L. C. E. (June 2002), « The Chapel of the Courtesan and the Quarrel of the Magdalens », The Art Bulletin, New York City, New York: College Art Association, 84 (2): 273–292, doi:10.2307/3177269, JSTOR 3177269
• Wright, N. T. (March 1, 2003), The Resurrection of the Son of God, Christian Origins and the Question of God, 3, Eugene, Oregon: Fortress Press, ISBN 978-0800626792

https://en.wikipedia.org/wiki/Mary_Magdalene

http://www.giacobbegiusti.com

Giacobbe Giusti, GIORGIONE: Laura, Kunsthistorisches Museum, Vienna

Giacobbe Giusti, GIORGIONE: Laura, Kunsthistorisches Museum, Vienna

Giorgione(/ˌdʒɔːrdʒiˈoʊneɪ, –ni/, US: /ˌdʒɔːrˈdʒoʊni/; Italian: [dʒorˈdʒoːne]; born Giorgio Barbarelli da Castelfranco; c. 1477/78–1510^[2]) was an Italian painter of the Venetian school in the High Renaissance from Venice, whose career was ended by his death at a little over 30. Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are affirmatively acknowledged to be his. The uncertainty surrounding the identity and meaning of his work has made Giorgione one of the most mysterious figures in European art.

Together with Titian, who was probably slightly younger, he founded the distinctive Venetian school of Italian Renaissance painting, which achieves much of its effect through colour and mood, and is traditionally contrasted with Florentine painting, which relies on a more linear disegno-led style.

Selected works

Giacobbe Giusti, GIORGIONE

Young Man with Arrow, (1506)
Kunsthistorisches Museum, Vienna

• The Test of Fire of Moses(1500–1501) – Oil on panel, 89 x 72, Uffizi, Florence
• The Judgement of Salomon (1500–1501) – Oil on panel, 89 x 72 cm, Uffizi, Florence
• Judith (c. 1504) – Oil on canvas, transferred from panel, 144 x 66,5 cm, Hermitage Museum, St. Petersburg
• Adoration of the Shepherds (c. 1505–10) –Oil on panel, 90.8 x 110.5 cm,National Gallery of Art,Washington
• Castelfranco Madonna (Madonna and Child Enthroned between St. Francis and St. Nicasius); c. 1505 – Oil on wood, 200 x 152 cm, Duomo, Castelfranco Veneto
• Portrait of a Young Bride (Laura) (c. 1506) Oil on wood, 41 x 33,5 cm,Kunsthistorisches Museum, Vienna
• The Tempest (c. 1508) – Oil on canvas, 82 x 73 cm, Accademia, Venice
• La Vecchia (Old Woman) (c. 1508) – Oil on canvas, 68 x 59 cm, Accademia, Venice
• Pastoral Concert (c. 1509) widely now given to Titian– Oil on canvas, 110 x 138 cm, Louvre, Paris
• Portrait of a Youth (1508–10) – Oil on canvas, 72,5 x 54 cm, Museum of Fine Arts, Budapest
• The Three Philosophers (1509) – Oil on canvas, Kunsthistorisches Museum, Vienna
• Portrait of Warrior with his Equerry (c. 1509) – Oil on canvas, 90 x 73 cm, Galleria degli Uffizi, Florence
• Sleeping Venus (c. 1510) – Oil on canvas, 108,5 x 175 cm,Gemäldegalerie, Dresden
• The Impassioned Singer (c. 1510) – Oil on canvas, 102 x 78 cm,Galleria Borghese, Rome
• Portrait of a Young Man – Wood, 69,4 x 53,5 cm, Alte Pinakothek, Munich

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). « Giorgione« . Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. pp. 31–33.
• Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, ISBN 0-947645-22-5
• Encyclopedia of Artists, volume 2, edited by William H.T. Vaughan, ISBN 0-19-521572-9, 2000

https://en.wikipedia.org/wiki/Giorgione

http://www.giacobbegiusti.com

Giacobbe Giusti, ANDREA VANNI Œuvres

Giacobbe Giusti, ANDREA VANNI Œuvres

 

• Vierge à l’Enfant, Musée des Offices, Florence

Giacobbe Giusti, ANDREA VANNI Œuvres

Das Fresko der Katharina von Siena in der San Domenico in Siena

Giacobbe Giusti, ANDREA VANNI Œuvres

Sankt Petersburg, Eremitage: Ascensione di Cristo (Detail)

Giacobbe Giusti, ANDREA VANNI Œuvres

Sainte Claire

Naissance	Vers 1332 Sienne
Décès	Vers 1414 Sienne
Activité	Peinture, Enluminure
Lieu de travail	Sienne
Mouvement	Tradition picturale byzantine
Influencé par	Simone Martini, Ambrogio Lorenzetti

Œuvres principales

Polyptyque de l’église Santo Stefano de Sienne1 – Vierge à l’Enfant, Musée des Offices, Florence

Andrea Vanni ou Andrea di Vanni d’Andrea(Sienne, vers 1332 – vers 1414), est un peintre italien et un enlumineur de l’école siennoise de style byzantin.

Biographie

Andrea Vanni subit l’influence de Simone Martiniet de Ambrogio Lorenzetti et dirige, à Sienne, un atelier, avec Bartolo di Fredi. Il travaille également avec son frère Lippo Vanni.

Comme Martino di Bartolomeo et Gregorio di Cecco, il fait survivre, sans la renouveler, la tradition picturale byzantine.

Comme la plupart des peintres de cette époque, il a occupé des charges publiques de la ville.

Il est surtout connu pour avoir fait partie du groupe des Caterinati, des disciples de sainte Catherine, leur contemporaine².

La fresque peinte dans la Basilique San Domenico vers 1390 représentant la sainte et une dévote, acquiert le statut d’un véritable portrait.

Son chef-d’œuvre est un polyptyque de l’église Santo Stefano de Sienne, aujourd’hui transféré au Baptistère.

Il a peint aussi à Naples avec son frère Lippo³.

Œuvres

• Une sainte et une dévote, fresque, Basilique San Domenico de Sienne (~1390)
• Cycle de fresques et retables pour les églises de la région de Sienne dont le Dôme de Sienne.
• Ascension du Christ (1355-1360), musée de l’Ermitage, Saint-Pétersbourg (préalablement attribuée à Bartolo di Fredi)
• Sainte Catherine d’Alexandrie (~1375), prédelle, Lindenau Museum, Altenburg
• Saint François
• Deux panneaux peints (1340 et 1360) par Lippo et Andrea Vanni, musée Capodimonte de Naples
• Vierge à l’Enfant, salle du Trésor, basilique de Mariazell, Salzbourg
• Vierge à l’Enfant, Musée des Offices, Florence
• Sainte Claire, Pomona College Museum of Art, Claremont, Californie,
• Saint Paul, Saint Pierre, Museum of Fine Arts, Boston, États-Unis

Notes et références

1. ↑« Andrea Vanni » [archive](consulté le14 août 2013)
2. ↑Lettre à Maître Andréa Vanni, peintre – Lettre LXIX (213) sur l’administration de la ville
3. ↑drawnbylove [archive]

Giacobbe Giusti, ANDREA VANNI Œuvres

Saint Paul by Vanni.

Andrea Vanni (1332 – c. 1414) was an Italianpainter of the early Renaissance, active mainly in his native Siena.

Biography

Vanni was born in about 1332 in Siena. The first notice of him as a painter comes from 1353 when he was associated with Bartolo di Fredi, though it is uncertain if Vanni was a painter or assistant. His last activities date around 1400 and scholars have put his death to be around 1414 (although no documentary evidence). He was also involved in the foundation of the new government of Siena in 1368 and for twenty years held several different offices, including being elected to Great Council in 1370, Gonfaloniero in 1371, and sent on Envoys to the Pope in 1372 and again in 1384.

Works

Vanni is less known than his contemporaries. He appears influenced by his fellow Sienese Simone Martini and Pietro Lorenzetti. In Siena, only one work by his hand remains: an Enthroned Madonna in the transept of S. Francesco. Prior to 2002, there was also a painting of St. Paul in the Palazzo Pubblico but it was acquired by the Boston Museum of Fine Arts in the form of a gift from Mrs. W. Scott Fitz . Additional works to his credit are a portrait of St. Catherine of Siena (who was rumored to be a relative of his), located in the church of San Domenico to commemorate the life of the saint, and a fragmented Crucifixion which was originally housed in the church of Alborino and is now in the Istituto delle Belle Arti. Around 1400, Vanni painted another portrait of St. Catherine with scenes from the life of St. James in the chapel in San Jacomo Intercisco, but these works have disappeared.

Polyptych of S. Stefano

Vanni’s most famous work is a polyptych in the church of Santo Stefano alla Lizza. It gives the viewer a greater sense of Vanni’s manner. The central panel contains a portrait of the Virgin and Child and apart from the color being striking, there is a “silhouette-like character of the design”. The Madonna is set like a dark pattern against the gold background of her throne. There is almost no attempt at chiaroscuro except around the face and hands which gives the piece a rather flat effect, and is an example of Simone Martini’s influence. The drapery of the Virgin however, is an example of Lorenzetti’s influence. Simple folds and lines along with the Madonna’s stiff upright pose is nothing like the Madonna’s of Martini but the “statelier figures of Lorenzetti”. The facial expression is completely of Vanni’s own. The Madonna has a large round head, narrow eyes and a delicate mouth. Her firm chin completes a set of strong features which are hard to ignore. The Christ Child is said to be modeled after the prototype for Martini’s fresco of the Majestas in the Palazzo della Signoria.

The figures of SS. James and Stephen on the left side panels are clear examples of Vanni’s work. The head of S. Stephen is similar to that of the Virgin and show Vanni’s love for the silhouette. The side figures of saints in the pinnacles of the polyptych show a strong sense of modeling.

Polyptych of San Stefano

Works attributed to Vanni

Another work may possibly be attributed to Vanni; a frescoed figure of St. John the Baptist on the left wall of a parish church in Basciano. There are only fragments of the fresco which survive and it is practically colorless which make it hard to prove authorship. The case for Vanni being the artist includes figure parallels to the S. Francesco fresco and the kneeling St. John on the right-hand panel of the Corcoran triptych. This work would be from Vanni’s late period and painted sometime after 1396 but prior to 1400. Some scholars suggest this fresco belongs to Andrea Gallerani.

Giacobbe Giusti, ANDREA VANNI Œuvres

St. Catherine

References

Bowd, S.D. 2011. « Andrea Vanni. « Fare diligente inquisitione: Gian Pietro Carafa e le origini dei chierici regolari teatini ».RENAISSANCE QUARTERLY. 64 (1): 279-280.

Bryan, Michael (1889). Walter Armstrong and Robert Edmund Graves. ed. Dictionary of Painters and Engravers, Biographical and Critical (Volume II L-Z). York St. #4, Covent Garden, London; Original from Fogg Library, Digitized May 18, 2007: George Bell and Sons. pp. page 586.

Perkins, F. Mason. 1903. « Andrea Vanni ». The Burlington Magazine for Connoisseurs. 2 (6): 309-311.

Pope-Hennessy, John. 1939. « Notes on Andrea Vanni ». The Burlington Magazine for Connoisseurs. 74 (431): 92.

Pope-Hennessy, John. 1943. « A Madonna by Andrea Vanni ». The Burlington Magazine for Connoisseurs. 83 (484): 174-177.

Vanni, Andrea, and Millard Meiss. 1956. « St. John the Evangelist ». Annual Report (Fogg Art Museum). 1955 (1956): 46-47.

https://en.wikipedia.org/wiki/Andrea_Vanni

http://www.giacobbegiusti.com

Giacobbe Giusti, LEONARD de VINCI: Madonna Benois

Giacobbe Giusti, LEONARD de VINCI: Madonna Benois

Giacobbe Giusti, LEONARD de VINCI: Madonna Benois

Vue du tableau

Artiste	Léonard de Vinci
Date	entre 1478 et 1482
Type	huile sur bois,
Dimensions (H × L)	49,5 × 33 cm
Mouvement	Renaissance italienne
Localisation	Musée de l’Ermitage, Saint-Pétersbourg (Russie)
Numéro d’inventaire	ГЭ-2773

La Madonna Benois (« Madone Benois » ou « Madonna col Bambino ») pourrait être l’une des deux Madones commencées par Léonard de Vinci, comme il le dit lui-même, en octobre 1478. L’autre pourrait être La Madone à l’œillet, conservée à la Alte Pinakothek de Munich¹.

Histoire

Il est probable que la Madonna Benois ait été le premier travail exécuté par Léonard comme peintre indépendant de son maître Andrea del Verrocchio. Il existe deux études préparatoires de ce tableau, conservées au British Museum de Londres.

Durant des siècles, le tableau a été considéré comme perdu. C’est seulement en 1909 que l’architecte Léon Benois l’a sensationnellement exposé à Saint-Pétersbourg, avec une partie de la collection de son beau-père :

Vers 1790, la Madonna Benois est en possession du général Alexandre Korsakov et elle quitte l’Italie pour la Russie. À la mort du général, son fils vend le tableau pour 1 400 roubles à un certain Sapojnikov, un marchand d’Astrakhan. Léon Benois (qui donne son nom au tableau) en devient le propriétaire lorsqu’il épouse la petite-fille de Sapojnikov.

En 1908, la revue Starye gody (Старые годы) organise la première exposition publique du tableau. À cette occasion, le conservateur de l’Académie impériale de peinture de Saint-Pétersbourg, Ernest de Liphart, est le premier à l’attribuer à Léonard de Vinci : « J’ai le courage de mon opinion malgré le tollé que soulèvera cette attribution. Le tableau n’est pas plaisant à première vue, j’en conviens ; mais étudiez-le et vous vous laisserez gagner peu à peu par le charme mystérieux de cette œuvre de jeunesse, toute modeste, de celui qui fut plus tard le grand, l’unique Léonard. » Léon Benois vend le tableau en 1914 au musée impérial de l’Ermitage.

Cette composition de Léonard a largement été copiée par de jeunes peintres, notamment par Raphaël pour son tableau Madone aux œillets, acquis en 2004 par la National Gallery de Londres.

Composition

L’accumulation des vernis sur le tableau a pu donner l’impression que la Vierge est édentée. Une observation rigoureuse de sa bouche cependant montre au moins quatre séparations (traits noirs) sous la lèvre supérieure. Le tableau ne semble pas pour autant achevé : des parties du vêtement paraissent ainsi être à l’état de sous-couches. Qui plus est, certains endroits du tableau ont été repeints : le ciel que l’on voit par la fenêtre, le tour de la bouche, le cou de la Vierge ainsi que le fond noir.

Les deux personnages, la mère et son fils, sont positionnés sur la toile de manière que le centre de la composition soit la fleur avec laquelle ils jouent.

Une des sources de lumière provient d’une fenêtre disposée à droite, visible dans le fond du tableau.

Analyse

Selon certains historiens de l’art, les quatre pétales de la fleur seraient une allégorie de sa future crucifixion.

Notes et références

1. ↑ Madone à l’œillet, Munich

[masquer] v · m Léonard de Vinci (1452-1519)
Tableaux	†Méduse • **L’Annonciation • **Le Baptême du Christ • La Madone à l’œillet • Ginevra Benci • Madonna Benois • L’Adoration des mages • Saint Jérôme • **Madone Litta • La Vierge aux rochers (Louvre) • Portrait de musicien • La Dame à l’hermine • **La Vierge aux rochers (National Gallery) • *La Belle Ferronnière • *Salvator Mundi • †La Madone aux fuseaux • La Vierge, l’Enfant Jésus et sainte Anne • La Joconde • *La Scapigliata • †Léda et le Cygne • Saint Jean-Baptiste • *Saint Jean-Baptiste en Bacchus
Œuvres murales	La Cène • †La Bataille d’Anghiari • **Sala delle Asse
Sculptures	Monument Sforza (jamais réalisé) • *Cheval et cavalier • *Cheval d’élevage avec guerrier
Dessins	Martyre de saint Sébastien • Homme de Vitruve • *La Belle Princesse • Isabelle d’Este • La Vierge, l’Enfant Jésus avec sainte Anne et saint Jean-Baptiste • Autoportrait • Paysage de la vallée de l’Arno • Étude du mouvement des chats
Manuscrits	Codex Atlanticus • Codex sur le vol des oiseaux • Codex Leicester • Codex Arundel • Codex Madrid • Codex Trivulzianus • Œuvre anatomique • Traité de la peinture
Projets	Automobile • Char d’assaut • Vis aérienne • Arbalète géante • Viola organista • Robot • Architonnerre • Proportions divines
Lieux	Vinci • Maison natale • Château du Clos Lucé • Musée des sciences et des techniques (Milan) • Musée Galilée (Florence)

Giacobbe Giusti,

Musée de l’Ermitage

Le palais d’Hiver, vu depuis la Néva.

Informations générales

Ouverture	1764
Dirigeant	Mikhaïl Piotrovski
Surface	233 000 m² au total dont 66 000 m² d’expositions
Visiteurs par an	4 200 000 (2017)
Site web	www.hermitage.ru

Collections

Collections	Antiquités orientales et classiques Objets préhistoriques Sculptures Objets en or Peintures
Nombre d’objets	60 000 en exposition 3 000 000 au total

Bâtiment

Article dédié	Palais d’Hiver
Architecte	Bartolomeo Rastrelli

Localisation

Pays	Russie
Région	Saint-Pétersbourg
Commune	Saint-Pétersbourg
Adresse	2, place du Palais 190000 Saint-Pétersbourg
Coordonnées	59° 56′ 25″ N, 30° 18′ 50″ E

Le musée de l’Ermitage (en russe : Государственный Эрмитаж, Gossoudarstvenny Ermitaj) est un musée situé à Saint-Pétersbourg, au bord de la Neva. C’est l’un des plus célèbres, des plus anciens (1764) et des plus importants musées d’art au monde.

C’est le plus grand musée du monde en termes d’objets exposés (plus de 60 000 pièces dans près de 1 000 salles tandis que près de trois millions d’objets sont conservés dans les réserves). Avec ses 230 000 m² de surface, dont 66 000 m² consacrés aux expositions, il s’agit de l’un des trois plus grands musées d’art du monde aux côtés du Louvre et du Metropolitan Museum. Le musée présente, à côté de nombreuses pièces de l’Antiquité, une collection d’œuvres d’art européen de la période classique qui compte parmi les plus belles au monde. Il abrite notamment la plus grande collection du monde de peintures, avec plus de 16 000 toiles. Parmi les œuvres exposées, figurent des peintures de maîtres hollandais et français comme Rembrandt, Rubens, Henri Matisse et Paul Gauguin. On y trouve également deux peintures à l’huile de Léonard de Vinci ainsi que trente et une peintures de Pablo Picasso. Le musée emploie 2 500 personnes et utilise l’aide de nombreux stagiaires gérés par le service des volontaires du musée de l’Ermitage.

Les bâtiments abritant le musée de l’Ermitage constituent un des principaux ensembles du centre de Saint-Pétersbourg qui est classé au patrimoine mondial de l’UNESCO.

 

Giacobbe Giusti, LEONARD de VINCI: Madonna Benois

Artist	Leonardo da Vinci
Year	1478
Medium	Oil on canvas
Dimensions	49.5 cm × 33 cm (19.5 in × 13 in)
Location	Hermitage Museum, Saint Petersburg

Madonna and Child with Flowers, otherwise known as the Benois Madonna, could be one of two Madonnas Leonardo da Vinci had commented on having started in October 1478. The other one could be Madonna of the Carnation from Munich.

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Verrocchio. There are two of Leonardo’s preliminary sketches for this piece in the British Museum.^[1] Studies of these sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight. At that time it was thought that human eyes exhibited rays to cause vision with a central beam being the most important. The child is thought to be guiding his mother’s hands into his central vision.^[2]

The composition of Madonna and Child with Flowers proved to be one of Leonardo’s most popular. It was extensively copied by young painters, including Raphael, whose own version of Leonardo’s design (the Madonna of the Pinks) was acquired in 2004 by the National Gallery, London.

For centuries, Madonna and Child with Flowers was considered lost. In 1909, the architect Leon Benois sensationally exhibited it in Saint Petersburg as part of his father-in-law’s collection. The painting had been apparently brought from Italy to Russia by the notable connoisseur Aleksey Korsakov in the 1790s. Upon Korsakov’s death, it was sold by his son to the Astrakhan merchant Sapozhnikov for 1400 roubles and so passed by inheritance to the Benois family in 1880. After many a squabble regarding attribution, Leon Benois sold the painting to the Imperial Hermitage Museum in 1914. The purchase was made by Ernst Friedrich von Liphartwho was the curator of paintings who had correctly identified the artist.^[3] (Ernst’s father Karl was an expert on Leonardo).^[4]

Since 1914 the painting has been exhibited in the Hermitage Museum in Saint Petersburg.

• Marian art in the Catholic Church

References

1. Jump up^ A.E. Popham and P. Pouncey, ‘Italian drawings in the BM, the fourteenth and fifteenth centuries’, London, 1950, I, no. 100, II, pls. XCIV, XCV [1]
2. Jump up^ Feinberg, Larry J. The young Leonardo : art and life in fifteenth-century Florence. New York: Cambridge University Press. pp. 83–86. ISBN 1107002397.
3. Jump up^ Directors of the Imperial Hermitage Archived February 27, 2014, at the Wayback Machine., Hermitage Museum, retrieved 3 January 2014
4. Jump up^ Baron Ernst Friedrich von Liphart, RusArtNet.com, retrieved 31 December 2013

[hide] v t e Leonardo da Vinci
List of works Science and inventions Personal life
Paintings	Medusa The Annunciation The Baptism of Christ The Madonna of the Carnation Ginevra de’ Benci Benois Madonna The Adoration of the Magi St. Jerome in the Wilderness Madonna Litta Virgin of the Rocks Portrait of a Musician Lady with an Ermine La Belle Ferronnière Salvator Mundi Madonna of the Yarnwinder The Virgin and Child with St. Anne Mona Lisa Head of a Woman (La Scapigliata) Leda and the Swan St. John the Baptist
Works on walls	The Last Supper Sala delle Asse The Battle of Anghiari
Sculptures	Sforza monument (unexecuted) Horse and Rider Rearing Horse and Mounted Warrior
Works on paper	Vitruvian Man Portrait of a Young Fiancée The Virgin and Child with St Anne and St John the Baptist Self-portrait Studies of the Fetus in the Womb
Manuscripts	Codex Arundel Codex Atlanticus Codex on the Flight of Birds Codex Leicester Codex Madrid Codex Trivulzianus A Treatise on Painting
Other projects	De divina proportione Architonnerre Leonardo’s crossbow Leonardo’s fighting vehicle Leonardo’s robot Leonardo’s self-propelled cart Viola organista
Leonardeschi	Giovanni Antonio Boltraffio Cesare da Sesto Giampietrino Giovanni Agostino da Lodi Bernardino Luini Cesare Magni Marco d’Oggiono Francesco Melzi Giovanni Ambrogio de Predis Salaì Andrea Solari
Posthumous fame	Cultural references Mona Lisa replicas and reinterpretations Things named after da Vinci

Мадонна Бенуа

Материал из Википедии — свободной энциклопедии

Giacobbe Giusti, LEONARD de VINCI: Madonna Benois

Леонардо да Винчи

Мадонна Бенуа. 1478—1480

Madonna Benois

Холст (переведена с дерева), Масло. 48 × 31,5 см

Государственный Эрмитаж, Санкт-Петербург (инв. 2773)

Изображения на Викискладе

«Мадонна Бенуа» или «Мадонна с цветком» (ок. 1478—1480) — ранняя картина Леонардо да Винчи, предположительно оставшаяся незавершённой. В 1914 году она была приобретена Императорским Эрмитажем у Марии Александровны, жены придворного архитектора Леонтия Николаевича Бенуа.

Описание

«Мадонна с цветком» — одна из первых работ молодого Леонардо. В галерее Уффици во Флоренциихранится рисунок со следующей записью^[1]:

…бря 1478 года начал две Девы Марии

Считается, что одной из них является «Мадонна Бенуа», а второй «Мадонна с гвоздикой» из Мюнхена.

Вполне вероятно, что обе картины были первыми работами Леонардо как самостоятельного живописца. На тот момент ему было всего 26 лет и уже шесть лет, как он покинул мастерскую своего учителя Андреа Верроккьо. У него уже был собственный стиль, но, разумеется, он в большой степени опирался на опыт флорентийцев XV века. Также не подлежит сомнению тот факт, что Леонардо знал о картине «Мадонна с младенцем», исполненной его учителем в 1466-1470 годах. Как следствие, для обеих картин общими чертами являются как трёхчетвертной поворот тел, так схожесть образов: юность обеих Мадонн и крупные головы Младенцев.

Крестоцвет в руке Мадонны

Да Винчи помещает Мадонну с Младенцем в полутёмной комнате, где единственным источником света является расположенное в глубине двойное окно. Его зеленоватый свет не может рассеять полумрак, но в то же самое время является достаточным, чтобы высветить фигуру Мадонны и юного Христа. Основную «работу» совершает свет, льющийся слева сверху. Благодаря ему мастеру удаётся оживить картину игрой светотени и вылепить объём двух фигур.

«Одну из первых самостоятельных работ молодого живописца отличает новизна трактовки сюжета, решенного как жизненная сцена, где молодая мать, одетая в костюм современниц Леонардо и причесанная по моде тех лет, играя с сыном, протягивает ему цветок крестоцвета. Традиционный символ распятия воспринимается как невинная игрушка, к которой по-детски неловко тянется младенец Иисус, вызывая улыбку юной мадонны, любующейся первыми попытками сына освоить мир»^[2].

В работе над «Мадонной Бенуа» Леонардо использовал технику масляной живописи, которую до того во Флоренции практически никто не знал. И хотя краски за пять столетий неизбежно изменились, став менее яркими, всё же отчётливо заметно, что молодой Леонардо отказался от традиционной для Флоренции пестроты красок. Вместо этого он широко использует возможности масляных красок, чтобы точнее передать фактуру материалов и нюансы светотени. Голубовато-зелёная гамма вытеснила с картины красный свет, в который обычно облачали Мадонну. В то же время для рукавов и плаща был выбран охристый цвет, гармонизирующий соотношение холодных и тёплых оттенков.

«Мадонна» работы Леонардо была широко известна художникам того времени. И не только итальянские мастера использовали в своих работах приёмы молодого да Винчи, но и живописцы из Нидерландов. Считается, что не менее десятка работ выполнено под его влиянием. Среди них картина Лоренцо ди Креди «Мадонна с Младенцем и Иоанном Крестителем» из Дрезденской картинной галереи, а также «Мадонна с гвоздиками» работы Рафаэля. Однако затем её следы затерялись, и в течение столетий картина Леонардо считалась потерянной.

«Мадонна с гвоздикой» работы Леонардо да Винчи. 1478. Старая пинакотека, Мюнхен	«Мадонна с Младенцем» работы Андреа Верроккьо. 1466-1470. Берлинская картинная галерея.	«Мадонна с Младенцем и Иоанном Крестителем» Лоренцо ди Креди. Дрезденская картинная галерея	«Мадонна с гвоздиками» Рафаэля, около 1506-7. Национальная галерея, Лондон

История картины

До сих пор нет точных сведений о ранней судьбе картины. Считается, что именно о ней говорил М. Ф. Бокки в своей книге «Достопримечательности города Флоренции», выпущенной в 1591 году:^[1]

Дощечка, расписанная маслом рукой Леонардо да Винчи, превосходная по красоте, где изображена мадонна в высшей степени искусно и старательно. Фигура Христа, представленного младенцем, прекрасна и удивительна, его поднятое лицо единственное в своём роде и поразительно по сложности замысла и тому, как этот замысел удачно разрешён.

Александр Александрович Сапожников, отец Марии Бенуа (на портрете работы Василия Тропинина)

Своё прозвание картина, следы которой терялись до XIX века, получила по последним владельцам — российской художественной династии Бенуа. В 1914 году она была приобретена Императорским Эрмитажем у жены придворного архитектора Леонтия Николаевича Бенуа — Марии Александровны (1858—1938), в девичестве Сапожниковой. К ней картина перешла по наследству от её отца, купца-миллионера и мецената А. А. Сапожникова (сына владельца картинной галереи А. П. Сапожникова). В семье ходило предание, будто картина была куплена у бродячих итальянских музыкантов в Астрахани, где Сапожниковы имели крупный рыбный промысел. Других сведений о судьбе картины в начале XX века не имелось.

В 1908 году Э. К. Липгарт писал^[1]:

[Картина] входила в состав старинного собрания князей Куракиных, а теперь принадлежит М.А. Бенуа, супруге известного архитектора.

Через несколько лет он поправил себя:^[1]

Тесть г-на Бенуа купил её [картину] у итальянских балаганщиков при переезде через Астрахань.

Эта версия широко тиражировалась и другими авторами. Часто без всяких ссылок на источники прибавляли, что работа когда-то находилась в собрании графов Коновницыных.

Лишь в 1974 году были обнародованы документальные данные о том, когда и при каких обстоятельствах «Мадонна с цветком» попала к Сапожниковым. В Государственном архиве Астраханской области был обнаружен «Реестр картинам г-на Александра Петровича Сапожникова, составленный в 1827 году». В описи за первым номером числится «Божья Матерь, держащая предвечного Младенца на левой руке… Вверху с овалом. Мастер Леонардо да Винчи… Из коллекции генерала Корсакова». Таким образом, выяснилось, что картина поступила из коллекции коллекционера и сенатора Алексея Ивановича Корсакова (1751/53-1821).

В XIX веке «Мадонна с цветком» была успешно переведена с доски на холст, о чём существует упоминание в «Реестре картинам г-на Александра Петровича Сапожникова, составленном в 1827 году»:^[1]

Первоначально писана на дереве, но поверхность того переложена на холст академиком Коротковым в 1824 году…При перекладке на холст оказался на рисунке абрис, обведенный чернилами, и у младенца три руки, чему снят литографический рисунок, который находится при ней.

Предполагают, что мастером, осуществившем перевод, был бывший сотрудник Императорского Эрмитажа и выпускник Академии Художеств Евграф Короткий. Нет ясности была ли на тот момент картина всё ещё в собрании генерала Корсакова или уже была куплена Сапожниковым.

В 1912 году Бенуа решили продать «Мадонну с цветком» и с этой целью вывезли её в Европу для проведения экспертизы, где лондонский антиквар Джозеф Дювин оценил её в 500 тыс. франков. Атрибуцию полотна Леонардо неохотно подтвердил крупнейший авторитет того времени — Бернард Беренсон:

В один несчастный день меня пригласили освидетельствовать «Мадонну Бенуа». На меня смотрела молодая женщина с лысым лбом и опухшими щеками, беззубой усмешкой, миопическими глазами и морщинистой шеей! Жутковатый призрак старухи играет с ребёнком: его лицо напоминает пустую маску, а к ней приделаны раздувшиеся тельце и конечности. Жалкие ручонки, бестолково-суетные складки кожи, цвет словно сыворотка. И всё же мне пришлось признать, что это ужасное создание принадлежит Леонардо да Винчи…[3]

Почтовая марка СССР 1971 года

Общественность хотела, чтобы картина осталась в России. М. А. Бенуа желала того же, а потому уступила «Мадонну» за 150 тыс. рублей Эрмитажу. Сумма уплачивалась частями, и последние платежи были совершены уже после Октябрьской революции.

Примечания

1. ↑ Перейти к:^{1 2 3 4 5} Все цитаты приведены по изданию О. Г. Махо. Леонардо да Винчи. «Мадонна с цветком». — СПб.: Государственный Эрмитаж, 2007. — 20 с. — ISBN 5-93572-246-1.
2. ↑ Мадонна Бенуа на офиц. сайте Эрмитажа
3. ↑ Ernest Samuels, Jayne Samuels. Bernard Berenson, The Making of a Legend. 2nd edition. Harvard University Press, 1987. ISBN 9780674067790. Page 216.

Литература

• Махо О. Г. Леонардо да Винчи. «Мадонна с цветком». — СПб.: Государственный Эрмитаж, 2007. — 20 с. — ISBN 5-93572-246-1.
• Банников А. П. Астраханская коллекция А. П. Сапожникова // Панорама искусств. М., 1988. Вып. 11.
• Кустодиева Т.К. « Мадонна Бенуа » Леонардо да Винчи : [К 500-летию картины]. — Л.: Аврора, 1979. — 31 с.
• Врангель Н. Н. «Мадонна Бенуа» Леонардо да Винчи. СПб., 1914.
• «Новое время». 1913. 5, 11, 27 ноября.
• Константинова А.А. Мадонны Леонардо да Винчи. — СПб.: Тип. « Сириус », 1908. — 100 с.

Ссылки

	Мадонна Бенуа на Викискладе

• Мадонна Бенуа на офиц. сайте Эрмитажа
• Мадонна Бенуа

柏諾瓦的聖母

维基百科，自由的百科全书

柏諾瓦的聖母

藝術家	達芬奇
年代	1478
類型	板面油畫
大小	49.5 cm × 33 cm（19.5英寸 × 13英寸）
藏於	聖彼得堡埃爾米塔日博物館

《柏諾瓦的聖母》可能是達芬奇1478年10月開始繪製的兩幅以聖母瑪麗為主題的作品之一，另一幅是聖母的康乃馨。

這幅作品很可能是達芬奇獨立完成的第一副作品。達芬奇為該畫作所繪的兩幅素描現藏於大英博物館。^[1]

此作品是達芬奇最著名的畫作之一，後來許多年輕藝術家都仿繪過此作，其中包括拉斐爾的《粉紅色的聖母》。

此作品實際上失蹤了數個世紀，直到1909年建築師利昂·柏諾瓦才在聖彼得堡將其展出，引發了一場轟動，據稱這是他岳父的藏品之一。1914年柏諾瓦將其賣給了埃爾米塔日博物館。

參考文獻

1. 跳转^ A.E. Popham and P. Pouncey, ‘Italian drawings in the BM, the fourteenth and fifteenth centuries’, London, 1950, I, no. 100, II, pls. XCIV, XCV [1]

外部連結

• Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on Benois Madonna (see index)

[隐藏] 查 论 编 列奥纳多·达·芬奇 作品列表 科研与发明 私人生活 绘画 †《美杜莎》 **《圣母领报》 **《基督受洗》 《圣母的康乃馨》 《吉内薇拉·班琪》 《柏诺瓦的圣母》 《三博士来朝》 《聖葉理諾在野外》 **《哺乳聖母》 《音樂家肖像》 《抱银鼠的女子》 《岩间圣母》（兩個版本：卢浮宫版、**伦敦版） 《最后的晚餐》 *《美麗的費隆妮葉夫人》 *《救世主》 **《圣母像》（两个版本） 《圣母子与圣安妮》 《蒙娜丽莎》 †《安吉亞里戰役》 *《女子頭像》 †《麗達與天鵝》 《施洗者圣约翰》 雕塑 達文西的馬（未完成） 纸上作品 《维特鲁威人》 *《美丽公主》 《圣母子与圣安妮、施洗者圣约翰》 《自画像》 手稿 阿伦德尔手稿 大西洋古抄本 鸟类飞行手稿 萊斯特手稿 馬德里手稿 提福兹欧手稿 绘画论（乌尔比诺手稿） 其他设计 Architonnerre ­達文西的弩 达芬奇机器人 達文西的自動車 Viola organista 学生 喬瓦尼·安東尼奧·博塔費奧 切薩雷·達·薩斯托 賈姆皮特里諾 喬瓦尼·阿戈斯蒂諾·達·洛迪 伯納迪諾·盧伊尼 切薩雷·馬尼 奧焦諾的馬可 弗朗西斯科·梅尔兹 喬瓦尼·安布羅吉奧·德·普瑞迪斯 沙莱 安德里亞·索拉里 死后名声及影响 文化参考 蒙娜丽莎的复制品及衍生物 达·芬奇命名列表 维基媒体  达·芬奇在维基共享资源  达·芬奇在维基语录 标注: *存疑作品 **与其他艺术家合作 †已遗失 达·芬奇相关页面分類  ·  人物主題  · 艺术主題  · 义大利主題

https://fr.wikipedia.org/wiki/Madonna_Benois

http://www.giacobbegiusti.com

Giacobbe Giusti, Hermitage Museum

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

Giacobbe Giusti, Hermitage Museum

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

 

Giacobbe Giusti, Hermitage Museum

An aerial view of the Winter Palace, Saint Petersburg, Russia. Altitude ~1,000 – 1,200 feet.

Website	hermitagemuseum.org

The State Hermitage Museum(Russian: Госуда́рственный Эрмита́ж, tr.Gosudárstvennyj Ermitáž, IPA: [ɡəsʊˈdarstvʲɪnɨj ɪrmʲɪˈtaʂ]) is a museum of art and culture in Saint Petersburg, Russia. The largest in the world,^[2][3] it was founded in 1764 when Empress Catherine the Great acquired an impressive collection of paintings from the Berlin merchant Johann Ernst Gotzkowsky. The museum celebrates the anniversary of its founding each year on 7 December, Saint Catherine’s Day.^[4] It has been open to the public since 1852.

Its collections, of which only a small part is on permanent display, comprise over three million items (the numismatic collection accounts for about one third of them),^[5]including the largest collection of paintings in the world. The collections occupy a large complex of six historic buildings along Palace Embankment, including the Winter Palace, a former residence of Russian emperors. Apart from them, the Menshikov Palace, Museum of Porcelain, Storage Facility at Staraya Derevnya and the eastern wing of the General Staff Buildingare also part of the museum. The museum has several exhibition centers abroad. The Hermitage is a federal state property. Since July 1992, the director of the museum has been Mikhail Piotrovsky.^[6]

Of the six buildings in the main museum complex, five—namely the Winter Palace, Small Hermitage, Old Hermitage, New Hermitage and Hermitage Theatre—are open to the public. The entrance ticket for foreign tourists costs more than the fee paid by citizens of Russia and Belarus. However, entrance is free of charge the first Thursday of every month for all visitors, and free daily for students and children. The museum is closed on Mondays. The entrance for individual visitors is located in the Winter Palace, accessible from the Courtyard.

Etymology

A hermitage is the dwelling of a hermit or recluse. The word derives from Old French hermit, ermit « hermit, recluse », from Late Latin eremita, from Greek eremites, literally « people who live alone », which is in turn derived from ἐρημός (erēmos), « desert ». The building was initially given this name because of its exclusivity – in its early days, only a very few people were allowed to visit.

Buildings

Originally, the only building housing the collection was the « Small Hermitage ». Today, the Hermitage Museum encompasses many buildings on the Palace Embankment and its neighbourhoods. Apart from the Small Hermitage, the museum now also includes the « Old Hermitage » (also called « Large Hermitage »), the « New Hermitage », the « Hermitage Theatre« , and the « Winter Palace« , the former main residence of the Russian tsars. In recent years, the Hermitage has expanded to the General Staff Building on the Palace Square facing the Winter Palace, and the Menshikov Palace.

Giacobbe Giusti, Hermitage Museum

The Hermitage Museum complex. From left to right: Hermitage Theatre – Old Hermitage – Small Hermitage – Winter Palace (the « New Hermitage » is situated behind the Old Hermitage).

Collections

The Western European Art collection includes European paintings, sculpture, and applied art from the 13th to the 20th centuries. It is displayed, in about 120 rooms, on the first and second floor of the four main buildings. Drawings and prints are displayed in temporary exhibitions.

Egyptian antiquities

Egyptian Collection of the Hermitage Museum

Egyptian Hall

Since 1940, the Egyptian collection, dating back to 1852 and including the former Castiglione Collection, has occupied a large hall on the ground floor in the eastern part of the Winter Palace. It serves as a passage to the exhibition of Classical Antiquities. A modest collection of the culture of Ancient Mesopotamia, including a number of Assyrian reliefs from Babylon, Dur-Sharrukin and Nimrud, is located in the same part of the building.

Classical antiquities

The collection of Classical Antiquities occupies most of the ground floor of the Old and New Hermitage buildings. The interiors of the ground floor were designed by German architect Leo von Klenze in the Greek revival style in the early 1850s, using painted polished stucco and columns of natural marble and granite. One of the largest and most notable interiors of the first floor is the Hall of Twenty Columns, divided into three parts by two rows of grey monolithic columns of Serdobol granite, intended for the display of Graeco-Etruscan vases. Its floor is made of a modern marble mosaic imitating ancient tradition, while the stucco walls and ceiling are covered in painting.

The Room of the Great Vase in the western wing features the 2.57 m (8.4 ft) high Kolyvan Vase, weighing 19 t (42,000 lb), made of jasper in 1843 and installed before the walls were erected. While the western wing was designed for exhibitions, the rooms on the ground floor in the eastern wing of the New Hermitage, now also hosting exhibitions, were originally intended for libraries. The floor of the Athena Room in the south-eastern corner of the building, one of the original libraries, is decorated with an authentic 4th-century mosaic excavated in an early Christian basilica in Chersonesos in 1854.

The collection of Classical Antiquities feature Greek artifacts from the 3rd millennium – 5th century BC, Ancient Greek pottery, items from the Greek cities of the North PonticGreek colonies, Hellenistic sculpture and jewellery, including engraved gems and cameos, such as the famous Gonzaga Cameo, Italic art from the 9th to 2nd century BC, Roman marble and bronze sculpture and applied art from the 1st century BC – 4th century AD, including copies of Classical and Hellenistic Greek sculptures. One of the highlights of the collection is the Tauride Venus, which, according to latest research, is an original Hellenistic Greek sculpture rather than a Roman copy as it was thought before.^[7] There are, however, only a few pieces of authentic Classical Greek sculpture and sepulchral monuments.

Prehistoric art

On the ground floor in the western wing of the Winter Palace the collections of prehistoric artifacts and the culture and art of the Caucasus are located, as well as the second treasure gallery. The prehistoric artifacts date from the Paleolithic to the Iron Age and were excavated all over Russia and other parts of the former Soviet Union and Russian Empire. Among them is a renowned collection of the art and culture of nomadic tribes of the Altaifrom Pazyryk and Bashadar sites, including the world’s oldest surviving knotted-pile carpet and a well-preserved wooden chariot, both from the 4th–3rd centuries BC. The Caucasian exhibition includes a collection of Urartu artifacts from Armenia and Western Armenia. Many of them were excavated at Teishebaini under the supervision of Boris Piotrovsky, former director of the Hermitage Museum.

Jewelry and decorative art

Four small rooms on the ground floor, enclosed in the middle of the New Hermitage between the room displaying Classical Antiquities, comprise the first treasure gallery, featuring western jewellery from the 4th millennium BC to the early 20th century AD. The second treasure gallery, located on the ground floor in the southwest corner of the Winter Palace, features jewellery from the Pontic steppes, Caucasus and Asia, in particular Scythian and Sarmatiangold. Visitors may only visit the treasure galleries as part of a guided tour.

Giacobbe Giusti, Hermitage Museum

The Pavilion Hall

Pavilion Hall, designed by Andrei Stackenschneider in 1858, occupies the first floor of the Northern Pavilion in the Small Hermitage. It features the 18th-century golden Peacock Clock by James Cox and a collection of mosaics. The floor of the hall is adorned with a 19th-century imitation of an ancient Roman mosaic.

Two galleries spanning the west side of the Small Hermitage from the Northern to Southern Pavilion house an exhibition of Western European decorative and applied art from the 12th to 15th century and the fine art of the Low Countries from the 15th and 16th centuries.

Italian Renaissance

The rooms on the first floor of the Old Hermitage were designed by Andrei Stakenschneider in revival styles in between 1851 and 1860, although the design survives only in some of them. They feature works of Italian Renaissance artists, including Giorgione, Titian, Veronese, as well as Benois Madonna and Madonna Litta attributed to Leonardo da Vincior his school.

Giacobbe Giusti, Hermitage Museum

The Small Italian Skylight Room

The Italian Renaissance galleries continues in the eastern wing of the New Hermitage with paintings, sculpture, majolica and tapestryfrom Italy of the 15th–16th centuries, including Conestabile Madonna and Madonna with Beardless St. Josephby Raphael. The gallery known as the Raphael Loggias, designed by Giacomo Quarenghi and painted by Cristopher Unterberger and his workshop in the 1780s as a replication of the loggia in the Apostolic Palace in Rome frescoed by Raphael, runs along the eastern facade.

Italian and Spanish fine art

The first floor of New Hermitage contains three large interior spaces in the center of the museum complex with red walls and lit from above by skylights. These are adorned with 19th-century Russian lapidary works and feature Italian and Spanish canvases of the 16th-18th centuries, including Veronese, Giambattista Pittoni, Tintoretto, Velázquez and Murillo. In the enfilade of smaller rooms alongside the skylight rooms the Italian and Spanish fine art of the 15th-17th centuries, including Michelangelo‘s Crouching Boy and paintings by El Greco.

The museum also houses paintings by Luis Tristán, Francisco de Zurbarán, Alonso Cano, José de Ribera and Goya.

Knights’ Hall

The Knights’ Hall, a large room in the eastern part of the New Hermitage originally designed in the Greek revival style for the display of coins, now hosts a collection of Western European arms and armour from the 15th-17th centuries, part of the Hermitage Arsenal collection. The Hall of Twelve Columns, in the southeast corner of the New Hermitage, is adorned with columns of grey Serdobolgranite and was also designed in the Greek revival style for the display of coins, is now used for temporary exhibitions.

Giacobbe Giusti, Hermitage Museum

The Three Graces by Canova

The Gallery of the History of Ancient Painting adjoins the Knights’ Hall and also flanks the skylight rooms. It was designed by Leo von Klenze in the Greek revival style as a prelude to the museum and features neoclassical marble sculptures by Antonio Canova and his followers. In the middle, the gallery opens to the main staircase of the New Hermitage, which served as the entrance to the museum before the October Revolution of 1917, but is now closed. The upper gallery of the staircase is adorned with twenty grey Serdobol granite columns and feature 19th-century European sculpture and Russian lapidary works.

Dutch Golden Age and Flemish Baroque

The Rubens Room

The rooms and galleries along the southern facade and in the western wing of the New Hermitage are now entirely devoted to Dutch Golden Age and Flemish Baroque paintingof the 17th century, including the large collections of Van Dyck, Rubens and Rembrandt. They also contain several paintings by Jan Brueghel the Elder (Velvet period), Frans Snyders (for example, The Fish Market), Gerard ter Borch, Paulus Potter, Jan van Goyen, Ferdinand Bol and Gerard van Honthorst.

German, Swiss, British and French fine art

The first floor rooms on the southern facade of the Winter Palace are occupied by the collections of German fine art of the 16th century and French fine art of the 15th–18th centuries, including paintings by Poussin, Lorrain, Watteau.

The collections of French decorative and applied art from the 17th–18th centuries and British applied and fine art from the 16th–19th century, including Thomas Gainsboroughand Joshua Reynolds, are on display in nearby rooms facing the courtyard. This area also holds paintings by German artists, including Hans Wertinger, Lucas Cranach the Elder, Barthel Bruyn the Elder, Caspar David Friedrich(Moonrise by the Sea), Anton Mengs, Hans Thoma, Anselm Feuerbach, Franz Stuck (Two Men Fighting Over a Woman) and Heinrich Campendonk as well as paintings by Swiss painters Angelica Kauffman, Alexandre Calame, Arnold Böcklin and Ferdinand Hodler.

Russian art

The richly decorated interiors of the first floor of the Winter Palace on its eastern, northern and western sides are part of the Russian culture collection and host the exhibitions of Russian art from the 11th-19th centuries. Temporary exhibitions are usually held in the Nicholas Hall.

French Neoclassical, Impressionist, and post-Impressionist art

The only portion of the second floor open to the public is in the Winter Palace. French Neoclassical, Impressionist and post-Impressionistart, including works by Renoir, Monet, Van Gogh and Gauguin, is displayed there in the southeastern corner. It also displays paintings by Camille Pissarro (Boulevard Montmartre, Paris), Paul Cézanne(Mount Sainte-Victoire), Alfred Sisley, Henri Morel, and Degas.

Modern, German Romantic and other 19-20th century art

Modern art is displayed in the General Staff Building (Saint Petersburg). It features Matisse, Derain and other fauvists, Picasso, Malevich, Kandinsky, Giacomo Manzù, Giorgio Morandi and Rockwell Kent. A large room is devoted to the German Romantic art of the 19th century, including several paintings by Caspar David Friedrich. The second floor of the Western wing features collections of the Oriental art (from China, India, Mongolia, Tibet, Central Asia, Byzantium and Near East).

Origins: Catherine’s collection

Catherine the Great started her art collection in 1764 by purchasing paintings from Berlin merchant Johann Ernst Gotzkowsky. He assembled the collection for Frederick II of Prussia, who ultimately refused to purchase it. Thus, Gotzkowsky provided 225 or 317 paintings (conflicting accounts list both numbers), mainly Flemish and Dutch, as well as others, including 90 not precisely identified, to the Russian crown.^[8] The collection consisted of Rembrandt(13 paintings), Rubens (11 paintings), Jacob Jordaens (7 paintings), Anthony van Dyck (5 paintings), Paolo Veronese (5 paintings), Frans Hals (3 paintings, including Portrait of a Young Man with a Glove), Raphael (2 paintings), Holbein (2 paintings), Titian (1 painting), Jan Steen (The Idlers), Hendrik Goltzius, Dirck van Baburen, Hendrick van Balen and Gerrit van Honthorst.^[9] Perhaps some of the most famous and notable artworks that were a part of Catherine’s original purchase from Gotzkowsky were Danae, painted by Rembrandt in 1636; Descent from the Cross, painted by Rembrandt in 1624; and Portrait of a Young Man Holding a Glove, painted by Frans Hals in 1650. These paintings remain in the Hermitage collection today.^[10]

Giacobbe Giusti, Hermitage Museum

Empress Catherine II

In 1764, Catherine commissioned Yury Felten to build an extension on the east of the Winter Palace which he completed in 1766. Later it became the Southern Pavilion of the Small Hermitage. In 1767–1769, French architect Jean-Baptiste Vallin de la Mothe built the Northern Pavilion on the Neva embankment. Between 1767 and 1775, the extensions were connected by galleries, where Catherine put her collections.^[11] The entire neoclassical building is now known as the Small Hermitage. During the time of Catherine, the Hermitage was not a public museum and few people were allowed to view its holdings. Jean-Baptiste Vallin de la Mothe also rebuilt rooms in the second story of the south-east corner block that was originally built for Elizabeth and later occupied by Peter III. The largest room in this particular apartment was the Audience Chamber (also called the Throne Hall) which consisted of 227 square meters.^[10]

The Hermitage buildings served as a home and workplace for nearly a thousand people, including the Imperial family. In addition to this, they also served as an extravagant showplace for all kinds of Russian relics and displays of wealth prior to the art collections. Many events were held in these buildings including masquerades for the nobility, grand receptions and ceremonies for state and government officials. The « Hermitage complex » was a creation of Catherine’s that allowed all kinds of festivities to take place in the palace, the theatre and even the museum of the Hermitage. This helped solidify the Hermitage as not only a dwelling place for the Imperial family, but also as an important symbol and memorial to the imperial Russian state. Today, the palace and the museum are one and the same. In Catherine’s day, the Winter Palace served as a central part of what was called the Palace Square. The Palace Square served as St. Petersburg’s nerve center by linking it to all the city’s most important buildings. The presence of the Palace Square was extremely significant to the urban development of St. Petersburg, and while it became less of a nerve center later into the 20th century, its symbolic value was still very much preserved.^[12]

Catherine acquired the best collections offered for sale by the heirs of prominent collectors. In 1769, she purchased Brühl‘s collection, consisting of over 600 paintings and a vast number of prints and drawings, in Saxony. Three years later, she bought Crozat‘s collection of paintings in France with the assistance of Denis Diderot. Next, in 1779, she acquired the collection of 198 paintings that once belonged to Robert Walpole in London followed by a collection of 119 paintings in Paris from Count Baudouin in 1781. Catherine’s favorite items to collect were believed to be engraved gems and cameos. At the inaugural exhibit of the Hermitage, opened by the Prince of Wales in November 2000, there was an entire gallery devoted to representing and displaying Catherine’s favorite items. In this gallery her cameos are displayed along with cabinet made by David Roentgen, which holds her engraved gems. As the symbol of Minerva was frequently used and favored by Catherine to represent her patronage of the arts, a cameo of Catherine as Minerva is also displayed here. This particular cameo was created for her by her daughter-in-law, the Grand Duchess Maria Fyodorovna. This is only a small representation of Catherine’s vast collection of many antique and contemporary engraved gems and cameos.^[13]

Giacobbe Giusti, Hermitage Museum

View of the Palace Embankment by Karl Beggrov, 1826. The Old Hermitage is in the middle of the painting.

The collection soon overgrew the building. In her lifetime, Catherine acquired 4,000 paintings from the old masters, 38,000 books, 10,000 engraved gems, 10,000 drawings, 16,000 coins and medals and a natural history collection filling two galleries,^[14] so in 1771 she commissioned Yury Felten to build another major extension. The neoclassical building was completed in 1787 and has come to be known as the Large Hermitage or Old Hermitage. Catherine also gave the name of the Hermitage to her private theatre, built nearby between 1783 and 1787 by the Italian architect Giacomo Quarenghi.^[15] In London in 1787, Catherine acquired the collection of sculpture that belonged to Lyde Browne, mostly Ancient Roman marbles. Catherine used them to adorn the Catherine Palaceand park in Tsarskoye Selo, but later they became the core of the Classical Antiquities collection of the Hermitage. From 1787 to 1792, Quarenghi designed and built a wing along the Winter Canal with the Raphael Loggias to replicate the loggia in the Apostolic Palace in Rome designed by Donato Bramante and frescoed by Raphael.^[11][16][17] The loggias in Saint Petersburg were adorned with copies of Vatican frescoes painted by Cristopher Unterberger and his workshop in the 1780s.

Catherine succeeded in accomplishing a huge achievement in the art world. She collected thousands of impressive pieces of artwork that were numerous in size and value. In her collection, at least 4,000 paintings came to rival the older and more prestigious museums of Western Europe. Catherine took great pride in her collection, and actively participated in extensive competitive art gathering and collecting that was prevalent in European royal court culture. Through Catherine’s art collection, she gained European acknowledgment and acceptance, and portrayed Russia as an enlightened society, another feat that Catherine took great pride in. Catherine went on to invest much of her identity in being a patron for the arts. She was particularly fond of the popular deity, Minerva, whose characteristics according to classical tradition are symbolic of military prowess, wisdom, and patronage of the arts. Using the title, Catherine the Minerva, she personally created new institutions of literature and culture and also participated in many projects of her own, mostly having to do with play writing. The representation of Catherine alongside Minerva would come to be a known tradition of enlightened patronage in Russia.^[18]

Expansion in the 19th century

Giacobbe Giusti, Hermitage Museum

The Raphael Loggias

Giacobbe Giusti, Hermitage Museum

Portico with atlantes, historical entrance

In 1815, Alexander I of Russiapurchased 38 pictures from the heirs of Joséphine de Beauharnais, most of which had been looted by the French in Kassel during the war. The Hermitage collection of Rembrandts was then considered the largest in the world. Also among Alexander’s purchases from Josephine’s estate were the first four sculptures by the neoclassical Italian sculptor Antonio Canova to enter the Hermitage collection.

Eventually the imperial collections were enriched by Greek and Scythian artifacts excavated within the Russian Empire.

Between 1840 and 1843, Vasily Stasov redesigned the interiors of the Southern Pavilion of the Small Hermitage. In 1838, Nicholas Icommissioned the neoclassical German architect Leo von Klenze to design a building for the public museum. Space for the museum was made next to the Small Hermitage by the demolition of the Shepelev Palace and royal stables. The construction was overseen by the Russian architects Vasily Stasovand Nikolai Yefimov in 1842–1851 and incorporated Quarenghi’s wing with the Raphael Loggias.

In 1851, in Venice the museum acquired the collection of Cristoforo Barbarigo, including five more canvases by Titian. Today, all of the paintings but one (Danaë) by Titian in the Hermitage Museum came to St. Petersburg from the Barbarigo collection.

The New Hermitage was opened to the public on 5 February 1852.^[19] In the same year the Egyptian Collection of the Hermitage Museumemerged, and was particularly enriched by items given by the Duke of Leuchtenberg, Nicholas I’s son-in-law. Meanwhile, in 1851–1860, the interiors of the Old Hermitage were redesigned by Andrei Stackensneider to accommodate the State Assembly, Cabinet of Ministers and state apartments. Stakenschneider created the Pavilion Hall in the Northern Pavilion of the Small Hermitage in 1851–1858.^[11]

Until the 1920s, the museum’s entrance was under the portico supported by five-metre high atlantes of grey Serdobol granite from Finland in the middle of the southern facade of the New Hermitage building.

In 1861, the Hermitage purchased from the Papal government part of the Giampietro Campana collection, which consisted mostly classical antiquities. These included over 500 vases, 200 bronzes and a number of marble statues. The Hermitage acquired Madonna Litta, which was then attributed to Leonardo, in 1865, and Raphael’s Connestabile Madonna in 1870. In 1884 in Paris, Alexander III of Russia acquired the collection of Alexander Basilewski, featuring European medieval and Renaissance artifacts. In 1885, the Arsenal collection of arms and armour, founded by Alexander I of Russia, was transferred from the Catherine Palace in Tsarskoye Seloto the Hermitage. In 1914, Leonardo’s Benois Madonna was added to the collection.

After the October Revolution

Immediately after the Revolution of 1917 the Imperial Hermitage and Winter Palace, former Imperial residence, were proclaimed state museums and eventually merged.

The range of the Hermitage’s exhibits was further expanded when private art collections from several palaces of the Russian Tsars and numerous private mansions were nationalized and redistributed among major Soviet state museums. Particularly notable was the influx of old masters from the Catherine Palace, the Alexander Palace, the Stroganov Palace and the Yusupov Palace as well as from other palaces of Saint Petersburg and suburbs.

In 1922, an important collection of 19th-century European paintings was transferred to the Hermitage from the Academy of Arts. In turn, in 1927 about 500 important paintings were transferred to the Central Museum of old Western art in Moscow at the insistence of the Soviet authorities. In the early 1930s, 70 more paintings were sent there. After 1932, a number of less significant works of art were transferred to new museums all over the Soviet Union.

In 1928, the Soviet government ordered the Hermitage to compile a list of valuable works of art for export. In 1930–1934, over two thousand works of art from the Hermitage collection were clandestinely sold at auctions abroad or directly to foreign officials and businesspeople. The sold items included Raphael‘s Alba Madonna, Titian‘s Venus with a Mirror, and Jan van Eyck‘s Annunciation, among other world known masterpieces by Botticelli, Rembrandt, Van Dyck, and others. In 1931, after a series of negotiations, Andrew W. Mellonacquired 21 works of art from the Hermitage and later donated to form a nucleus of the National Gallery of Art in Washington, D.C. (see also Soviet sale of Hermitage paintings).

Giacobbe Giusti, Hermitage Museum

A room in the Winter Palace

Giacobbe Giusti, Hermitage Museum

Soviet ski troops by the portico during the Siege of Leningrad

With the German invasion of the Soviet Union in 1941, before the Siege of Leningrad started, two trains with a considerable part of the collections were evacuated to Sverdlovsk. Two bombs and a number of shells hit the museum buildings during the siege. The museum opened an exhibition in November 1944. In October 1945 the evacuated collections were brought back, and in November 1945 the museum reopened.

In 1948, 316 works of Impressionist, post-Impressionist, and modern artfrom the collection of the Museum of New Western Art in Moscow, originating mostly from the nationalized collections of Sergei Shchukin and Ivan Morozov and disestablished before the war, were transferred to the Hermitage, including works by Matisse and Picasso. Beginning in 1967, a number of works by Matisse were donated to the museum by his muse Lydia Delectorskaya.

In 1981, the restored Menshikov Palace became a new branch of the Hermitage museum, displaying Russian culture of the early 18th century.

On 15 June 1985, a man later judged insane attacked Rembrandt’s painting Danaë, displayed in the museum. He threw sulfuric acid on the canvas and cut it twice with his knife. The restoration of the painting had been accomplished by Hermitage experts by 1997, and Danaë is now on display behind armoured glass.

The Hermitage since 1991

In 1991, it became known that some paintings looted by the Red Army in Germany in 1945 were held in the Hermitage. Only in October 1994 the Hermitage officially announced that it had secretly been holding a major trove of French Impressionist and Post-Impressionist paintings from German private collections. The exhibition « Hidden Treasures Revealed », where 74 of the paintings were displayed for the first time, was opened on 30 March 1995, in the Nicholas Hall of the Winter Palace and lasted a year. Of the paintings, all but one originated from private rather than state German collections, including 56 paintings from the Otto Krebs collection, as well as the collection of Bernhard Koehler and paintings previously belonging to Otto Gerstenberg and his daughter Margarete Scharf, including world-famous Place de la Concorde by Degas, In the Garden by Renoir, White House at Night by Van Gogh, and some other collections.^[20][21][22]Some of the paintings are now on permanent display in several small rooms in the northeastern corner of the Winter Palace on the first floor.^[23][24]

In 1993, the Russian government gave eastern wing of the nearby General Staff Building across the Palace Square to the Hermitage and the new exhibition rooms in 1999. Since 2003, the Great Courtyard of the Winter Palace has been open to the public providing another entrance to the museum. Also in 2003, the Museum of Porcelain opened as a part of the Hermitage on the basis of the Imperial Porcelain Factory.

In December 2004, the museum discovered another looted work of art: Venus disarming Mars by Rubens was once in the collection of the Rheinsberg Palace in Berlin, and was apparently looted by Soviet troops from the Königsberg Castle in East Prussia in 1945. At the time, Mikhail Piotrovsky said the painting would be cleaned and displayed.^[25]

The museum announced in July 2006, that 221 minor items, including jewelry, Orthodox icons, silverware and richly enameled objects, had been stolen. The value of the stolen items was estimated to be approximately $543,000 but by the end of 2006 several of the stolen items were recovered.^[26]

Dependencies

Giacobbe Giusti, Hermitage Museum

Deer golden plaque from Krasnodar, beginning of 6th century BC

In recent years, the Hermitage launched several dependencies abroad and domestically.

Hermitage Amsterdam

Hermitage Amsterdam

The dependency of the Hermitage Museum in Amsterdam is known as the Hermitage Amsterdam, and is located in the former Amstelhofbuilding. It opened on 24 February 2004 in a small building on the Nieuwe Herengracht in Amsterdam, awaiting the closing of the retirement home which still occupied the Amstelhof building until 2007. Between 2007 and 2009, the Amstelhof was renovated and made suitable for the housing of the Amsterdam Hermitage. The Amsterdam Hermitage was opened on 19 June 2009 by President Dmitry Medvedev and Queen Beatrix of the Netherlands.^[27]

Hermitage-Kazan Exhibition Center

The Hermitage dependency in Kazan (Tatarstan, Russia), opened in 2005. It was created with support from President of the Republic of Tatarstan Mintimer Shaimiev and is a subdivision of the Kazan Kremlin State Historical and Architectural Museum-Park. The museum is situated in the Kazan Kremlin in an edifice previously occupied by the Junker School built in the beginning of the 19th century.^[28]

Ermitage Italia, Ferrara

Following the prior experiences in London, Las Vegas, Amsterdam and Kazan, the Hermitage foundation decided to create a further branch in Italy with the launch of a national bid. Several northern Italian cities expressed interest such as Verona, Mantua, Ferrara and Turin. In 2007, the honor was awarded to the city of Ferrara which proposed its Castle Estense as the base. Since then, the new institution called Ermitage Italia started a research and scientific collaboration with the Hermitage foundation.^[29]

Hermitage-Vyborg Center

Hermitage-Vyborg Center

Hermitage-Vyborg Center was opened in June 2010 in Vyborg, Leningrad Oblast.

Hermitage Barcelona

In 2012, the State Hermitage Museum and the Government of Catalonia confirmed their intention of establishing in Barcelona a Hermitage-Barcelona museum center, due to open in 2019.

Hermitage Exhibition Center, Vladivostok

A Hermitage branch is due to open in Vladivostok by 2016, and the regional government has allocated more than Rb17.7 million ($558,000) for preliminary reconstruction work on a mansion in Vladivostok’s historic downtown district to house the satellite.^[30]

Hermitage-Siberia, Omsk

The Hermitage-Siberia is due to open in Omsk in 2016.^[30]

Guggenheim Hermitage Museum, Vilnius

In recent years, there have been proposals to open a Vilnius Guggenheim Hermitage Museum in the capital city of Lithuania. Like the former Las Vegas dependency, the Museum is to combine artworks from the Saint Petersburg Hermitage with works from the New York Guggenheim Museum.^[31]

Former dependencies

The Guggenheim Hermitage Museum in Las Vegas opened on 7 October 2001 and closed on 11 May 2008.^[32] The Hermitage Rooms in London’s Somerset House opened on 25 November 2000.^[33] The exhibition was closed permanently in November 2007 due to poor visitor numbers.^[34]

Volunteer service

Hermitage Volunteer Service

The Hermitage Volunteer Service offers all those interested a unique opportunity to involve themselves in running this world-renowned museum. The program not only aids the Hermitage with its external and internal activities but also serves as an informal link between the museum staff and the public, bringing the specific knowledge of the museum’s experts to the community. Volunteers may also develop projects reflecting their own personal goals and interests: communicate a feeling of responsibility to the youth so as to help them understand the value of tradition and the necessity of its preservation.

Cats

One of the Hermitage cats

A population of cats lives on the museum grounds and serves as an attraction.^[35]

Films

• Russian Ark (2002), the Russian film by Alexander Sokurov, was filmed entirely in the Hermitage Museum, showing the Winter Palace at various stages of its history.
• War and Peace (1966–67), an Oscar-winning Soviet adaptation of the novel by Leo Tolstoy, was partially filmed in the Winter Palace.

Television

‘Culture,’ a Russian national television channel, has been presenting the various art collections of the Hermitage to the general public for years. There are a series of programs that have aired entitled ‘My Hermitage’ that have been particularly successful. All of these programs are organized by the Director of the Hermitage, Professor Mikhail Piotrovsky, and are quite similar to the broadcasts created by Academician Boris Piotrovsky, who is Mikhail’s father. These programs were first broadcast through the Soviet Union’s ‘First’ channel, airing at the height of the museum’s boom. During this time, this channel recorded more than three million visitors every year, mostly from the Soviet Union. Another program created by the Hermitage was called ‘The Treasures of St. Petersburg,’ and was broadcast on the St. Petersburg regional television. This program gave insight into what exhibitions were being displayed at the Hermitage.^[36]

Treasures of St Petersburg & The Hermitage, (2003) a three-part documentary series for Channel 5 in the UK, directed by Graham Addicott and produced by Pille Runk. An Anglo-Estonian co-production by First Freedom Productions and Allfilm. DVD Cat No BDV057

‘Hermitage Revealed’ (2014) is a BBC documentary from Margy Kinmonth. The film tells the story of its journey from imperial palace to state museum, investigating remarkable tales of dedication, devotion, ownership and ultimate sacrifice, showing how the collection came about, how it survived tumultuous revolutionary times and what makes the Hermitage unique today.^[37]

Literature

• To the Hermitage, by Malcolm Bradbury, retells the story of Diderot‘s journey to Russia to meet Catherine the Great in her Hermitage.
• Petersburg, by Andrey Bely, features the Winter Canal near the palace as one of its central locations, but never names the Winter Palace directly.
• Ghostwritten, by David Mitchell, features as one of its protagonists a woman who works for an art counterfeiting ring whilst masquerading a docent in a gallery room on the upper floor of the Large Hermitage.
• The Madonnas of Leningrad, a novel by Debra Dean, features the Hermitage during World War II.
• Sancar Seckiner’s new book Thilda’s House (Thilda’nın Evi), published March 2017, consists of 15 chapters. One of them, chapter XV, highlights writer’s experience at Hermitage Museum by indicating several masterworks of the 15th–19th centuries. ISBN978-605-4160-88-4

Games

• The Hermitage appears in the video games Civilization IV, Civilization V and Civilization VIas a wonder of the world.^[38]
• The Hermitage appears in the first mission of the Soviet campaign in the video game Command and Conquer: Red Alert 3; it is under attack from forces of the Empire of the Rising Sun.

Giacobbe Giusti, Hermitage Museum

• 

  Ancient Egyptian: Limestone stele of a chief potter (18th century BC)

   

Giacobbe Giusti, Hermitage Museum

• 

  Ancient Near East: Urartu deity (7th–5th century BC)

   

Giacobbe Giusti, Hermitage Museum

• 

  Ancient Greek: Red-figure vase(5th century BC)

   

Giacobbe Giusti, Hermitage Museum

• 

  Ancient Steppes: Pazyryk horseman (3rd century BC)

• 

  Hellenistic: Gonzaga Cameo (3rd century BC)

• 

  Ancient Roman: Bust of Lucius Verus (160–170)

• 

  Indian: statue of Buddha (2nd–3rd century)

• 

  Gothic: Anjou Legendarium(1330)

   

Giacobbe Giusti, Hermitage Museum

• 

  Early Renaissance: Madonna Litta by Leonardo da Vinci (c. 1490)

• 

  High Renaissance: Penitent Magdalene by Titian (1565)

• 

  Mannerism: Saint Peter and Saint Paul by El Greco (1592)

• 

  Italian Baroque: The Lute Playerby Caravaggio (1596)

• 

  Spanish Baroque: The Lunch by Diego Velázquez (1617)

• 

  Dutch Baroque: Danaë by Rembrandt (1636)

• 

  Classicism: Tancred and Herminia by Nicolas Poussin(1649)

• 

  The Sacrifice of Polyxena by Giambattista Pittoni (c.1720s)

• 

  English: Woman in Blue by Thomas Gainsborough (c. 1770s)

• 

  Rococo: The Stolen Kiss by Jean-Honoré Fragonard (c. 1780)

• 

  Neoclassicism: Psyche Revived by Cupid’s Kiss by Antonio Canova (1800–1803)

   

Giacobbe Giusti, Hermitage Museum

• 

  Romanticism: Portrait of Antonia Zarate by Francisco Goya (1810)

• 

  Persian: Portrait of Fath Ali Shah(1813–1814)

• 

  Impressionism: Woman in a Garden by Claude Monet (1867)

   

Giacobbe Giusti, Hermitage Museum

• 

  Post-Impressionism: White House at Night by Vincent van Gogh (1890)

• 

  Picasso’s Rose Period: Femme au café (Absinthe Drinker) by Pablo Picasso (1901–02)

• 

  Proto-Cubism: Dryad, by Pablo Picasso (1908)

   

Giacobbe Giusti, Hermitage Museum

• 

  Fauvism: The Dance by Henri Matisse (1910)

   

• 

  Maratha India: A Maratha Armor and Helmet

   

• 

  Abstract: Composition VI by Wassily Kandinsky (1913)

https://en.wikipedia.org/wiki/Hermitage_Museum

http://www.giacobbegiusti.com