He does not believe what he hears from others, he wants to see things, to touch, to get hold. Authorities do not have it easy with Leonardo, and you can imagine that the sculptor Andrea del Verrocchio had to come to his apprentice with arguments instead of with instructions, to impress him. Perhaps the young man met the master, so like the doubting Thomas, Christ: A halo is not enough for him, the son of God must reveal his wounds in order to convince the doubting Thomas of the resurrection.

So it shows Verrocchio in a large Bronze, who travelled from Florence to Paris and now it was the great Leonardo exhibition at the Louvre in Paris, opens. Christ is gesturing, almost dozierend on a small Pedestal, the younger Thomas, but the little interested. He focuses on the side wound as an empirical proof of the resurrection.

Not all the paintings of Leonardo are gathered together

A better metaphor would be the curators Vincent Delieuvin and Louis Frank for your catch can’t find. Thomas does not believe blindly, Leonardo does this, and neither do you.

This is probably the reason why the most expensive ever verauktionierte paintings in the world, could not arrive. The curators, had reserved to themselves to decide the question of the authorship of this “Salvator Mundi” itself, and only if you have the plant in your hands. The test would probably have been less positive than that of Thomas: The catalogue avoids a clear statement that piles up but doubt to doubt, with regard to provenance, condition, design, source, location. And the Art Newspaper reported that the Louvre had been very close on a loan, however, in the insurance documents and the official papers which were already prepared, only by a “write-up” of Leonardo, the speech, not from a handwritten Original. Therefore, could not have been more so probably, as in the exhibition of the National Gallery in London in 2011, just “Leonardo da Vinci” stood without a question mark on the illustration.

Is it a da Vinci or not? The Louvre in Paris is a proof of courage in dealing with this question, and shows a “Salvator Mundi” – not of da Vinci himself painted. Photo: Reuters

the “Salvator Mundi” is still – in a different version, there are more than two dozen from the Leonardo perimeter and from its successor. It has a certain joke, as the serious Christ, the meticulously executed Version Ganay blesses the viewer, framed by the two small robe studies of Leonardo, which can be vague with the subject associate. They prove little; whether Leonardo painted ever a “Salvator Mundi”, remains uncertain.

Anyway, the curators manage in a creative way. Of course, not all of the approximately 15 paintings of Leonardo are gathered here, the Munich-based “Madonna with the carnation” is about fragile, “Cecilia Gallerani” from Krakow was for her age in the past few years, much to a lot of on-the-go, and “Ginevra de’ Benci” stays home in Washington. Wooden panels from the Renaissance are sensitive, it is right not to expose them to unnecessary hardships. Nevertheless, all the paintings of Leonardo, are represented in the Display as infrared images in original Size.

The first real painting of the master is only number 39, is the wonderful “Madonna Benois” from St. Petersburg, was a keen Teenager in the game, with its large distressed, highly-concentrated, but still chubby-handed Baby. Just because the Show increases in drawings, and infrared images, the comparison works, was the small panel the appearance she deserves.

Almost of the Vitrumann would not have been able to travel to Paris The drawing is issued only rarely. Photo: Keystone

The place in the Da Vinci exhibition for the “Uomo vitruviano”, the Vitruvian man, was already scheduled. Because of the Patriotic monument protection Association Italia Nostra brought an action against the Louvre. The drawing must not be loaned to the Museum, as cultural goods should not be placed such great importance out of the country. This provision is based on deck of an old regulation. An Italian court upheld the claim first. The administrative court of the Veneto Region – the drawing is located in Venice – saw it differently, dismissed the action and approved the loan. Justification: The exhibition in the Louvre is of exceptional global relevance, and Italy wanted to expand their cultural potential. The “Uomo vitruviano” was able to take his trip to Paris on schedule. (red)

Some of the exhibitions in the Louvre are lush, but accents. Target guests to Leonardo’s mountain and Talstudie from the Uffizi gallery to be led, with the help of the early modern landscape art began. The rarely performed piece is for the Show to be more important than Leonardo’s after some political and legal wrangling borrowed “Vitruvius man” from Venice, because of the great women of the Louvre, Leonardo’s virgin with her mother Anna, as well as the “Mona Lisa”, sitting in front of complex Landscape backgrounds. Leonardo loved to relate humans and nature together.

How this works, before cause now its in the Louvre local “grotto of the Madonna” and in the Vatican living “Jerome” in the Dialog. In between Belle Ferronnière “pulls” all the attention and considers, in turn, behind your painted stone sill to the front of the frame pushy admirers. Perhaps, however, she is interested in “Cecilia Gallerani” but even more than that for us – as an infrared pictures of the two hanging in the same Size next to each other and seem to be chatting, as did the two women may already be at the Milanese court of Ludovico Sforza.

The “Belle Ferronnière” peers prefer to your neighbor, as you look at the visitors. Photo: Michel Urtado

The views in the Show are stupendous, to be congenial to act in Leonardo’s ability, characters are always new to each other, as well as to develop them in a constant state of change out. Especially, the precise selected drawings show how he was feeling. On a spring sketch of an Old man to small child, a girl – to the man’s head. Elsewhere, a young woman points to a unicorn, which, in turn, shows up with his horn tip to you. And time and again, Mary turns to loving your child, washes his feet, offer him fruits, watching his laughter with a counter-bristled cat. Life means to communicate, to stay in motion and in conversation.

This conversation can take place between history and the present, like Leonardo’s picture idea of the eggs legends of Leda, which refers to how the Louvre and two marble shows statues on ancient Venus images. But above all, Leonardo’s entertain the creatures with each other and with your viewers, and you do not do this, to teach others, or to idolize, but, it seems, out of genuine interest.

Many visitors pick up the phone – in vain

Who is just getting used to these vibrations, you will feel in the last room of happiness. In the middle of Anna the third”, to that great, recently cleaned paintings radiate “, on the Leonardo over the years painted. Again, Mary is busy with her impetuous son, the comrades of his play, the lamb, almost break his Neck. Closely your relationship to your own mother, on whose Lap she sits is. Anna, still young, is the great way; behind her head a sky stretches blue world landscape. Their Superiority, but the grandmother doesn’t play out on the painting, in contrast to its Position in London’s “Burlington box”: Here, Anna stretched out the index finger towards the sky.

Until his death in 1519 has worked on da Vinci at “Anna the third”. Photo: René-Gabriel Ojéda

That, in turn, corresponds with the third painting in the room, the portrait of John. Also he stretches the fingers to the top. But this is only at first glance, an admonishing gesture. John wants more, he wants to seduce and be Over with skin and hair. And how could he succeeds, with this deep, guards view, the soft Curls, in the dark room, glowing shoulder. Holy may be his Mission, his nature is not of this world. The fur, he pressed gently to his heart, may fall at any Moment.

Many of the visitors who come into the Show in front of John, grabbing instinctively for the camera phone, as you suspected, that this view, this man let go of you, if you expose yourself to him unfiltered. The dark sfumato of the image is a photograph hardly; the intensity of the late work, gives only the one who stands in front of him. This was, first and foremost, Leonardo himself. The painter kept the “John” next to the “Mona Lisa” and “Anna the third” until his death in. Maybe he spoke with the characters, as he wanted the viewers of his works. The Paris exhibition opens up new ways of Thinking and game rooms.

Leonardo da Vinci. The Louvre, Paris. – 24. February.

The catalog (Hazan) costs approx. 39 Swiss francs.

Created: 26.10.2019, 21:27 PM