"made on August 7, 1482. On April 25, 1483, Prior Bartolomeo Scorlione and the Confraternity contracted Leonardo da Vinci, and the brothers Ambrogio and Evangelista de Predis to provide the painted panels for the altarpiece. The contract was not explicit about what each artist was to do. Leonardo was referred to in the contract as ""Master"". Ambrogio de Predis was also a painter. It is presumed that Evangelista de Predis was a gilder and assisted in preparing the colours. The details of the painting, colouring and gilding are set out in the contract. The central panel was to be a"
"with this interpretation, placing the Louvre painting prior to 1481 and the London painting from 1483. The theory that is most commonly used to explain the existence of the two paintings is that Leonardo painted the Louvre ""Virgin of the Rocks"" to fulfil the commission, giving it a date of 1483, and that he then sold it to another client, and painted the London version as a replacement. In line with this theory, it is hypothesised that the Louvre painting was sold in the late 1480s, after some haggling over the final payment. The London painting was commenced in perhaps"
"received two payments totalling 200 Lire. The receipt of this payment is acknowledged in correspondence by Leonardo. In 1524 and 1576 ""The Virgin of the Rocks"" in the Chapel of the Immaculate Conception, presumably the London version, was invoked against the plague. In 1576, the altarpiece was removed from the chapel, which was demolished. In mid-1785, Gavin Hamilton, a painter and dealer, purchased the ""Virgin of the Rocks"" from Count Cicogna, administrator of the religious body which succeeded the Confraternity of the Immaculate Conception. Hamilton’s heirs sold the painting to Lord Lansdowne. In 1880, the painting was sold by the"
"paintings are associated with the commission: side panels each containing an angel playing a musical instrument and completed by associates of Leonardo. These are both in the National Gallery, London. The ""Virgin of the Rocks"" in the Louvre is considered by most art historians to be the earlier of the two and dates from around 1483–1486. Most authorities agree that the work is entirely by Leonardo. It is about 8 cm (3 in) taller than the London version. The first certain record of this picture dates from 1625, when it was in the French royal collection. It is generally accepted"
"crochet and table-carpets. More than any other artist, he advanced the study and painting of ""atmosphere"". In his paintings such as the ""Mona Lisa"" (c.1503-1517) and ""Virgin of the Rocks"" (1483-1486) (the earliest complete work fully of his hand), he used light and shade with such subtlety that, for want of a better word, it became known as Leonardo's ""sfumato"" or ""smoke"". He exhibited a revolutionary use of colour by defining the transition between figures by colour modulation instead of by actual lines. His work invited the viewer into a mysterious world of shifting shadows, chaotic mountains and whirling torrents."
"that city. Those who painted and sculpted the subject of the Mary and child with St John include Fra Filippo Lippi, Raphael, and Michelangelo. In both paintings the scene is depicted taking place against a background of rock formations. While scenes of the Nativity were sometimes depicted as taking place in a cave, and Kenneth Clark points to the existence of an earlier rocky landscape in an adoration painted for the Medici family by Fra Filippo Lippi, the setting was unprecedented and gave to the paintings their usual name of the ""Virgin of the Rocks"". The two paintings of the"
"Madonna of the Pinks The Madonna of the Pinks (c. 1506–1507, Italian: ""La Madonna dei garofani"") is an early devotional painting usually attributed to Italian Renaissance master Raphael. It is painted in oils on fruitwood and now hangs in the National Gallery, London. The painting depicts a youthful Virgin Mary playing with the Christ child and handing him carnations. (The Italian title, ""La Madonna dei garofani"" actually means The Madonna of the Carnation.) These flowers, whose botanical name is ""dianthus"" (Greek for ‘flower of God’), are a premonition of Christ's Passion – according to Christian legend, the flower first appeared"
"statue known as the ""Madonna del Sasso"" (Madonna of the Rock) so named because she rests one foot on a boulder. It was commissioned by Raphael and made by Lorenzetto in 1524. In the Chapel of the Crucifixion, the Roman brick wall is visible in the niches. The wooden crucifix on the altar is from the 15th century. On the left wall is a ""Descent of the Holy Ghost"" (1790) by Pietro Labruzi. On the right side is the low relief ""Cardinal Consalvi presents to Pope Pius VII the five provinces restored to the Holy See"" (1824) made by the"
"""From Duccio to Raphael: Connoisseurship in Crisis"" disputed the attribution of the National Gallery's painting ""Madonna of the Pinks"" to Raphael. Brian Sewell notably criticised the painting of being of low quality and possibly forged, pointing out how the Madonna's right leg seems disconnected from her body. The palette is relatively limited compared to other works by Raphael. The sky and the blue drapery of the Virgin are painted in natural ultramarine and azurite, he further employed lead-tin yellow, malachite and verdigris. Madonna of the Pinks The Madonna of the Pinks (c. 1506–1507, Italian: ""La Madonna dei garofani"") is an"
"""Virgin of the Rocks"", that now belonging to the National Gallery, London, and that belonging to the Louvre Museum, Paris, are the same in subject matter and in overall composition, indicating that one is derivative of the other. The two paintings differ in compositional details, in colour, in lighting and in the handling of the paint. Both paintings show a grouping of four figures, the Virgin Mary, the Christ child, the infant John the Baptist and an angel arranged into a triangular composition within the painting and set against a background of rocks, and a distant landscape of mountains and"
"Madonna of the Caves The Madonna of the Caves (Italian – ""Madonna delle Cave"") is a tempera on panel painting measuring 32 cm 29.6 cm. It was painted in 1488-1490 by the Italian painter Andrea Mantegna and is now in the Uffizi Gallery in Florence. It is named after a stone quarry in the right-hand background, where workers are carving out a capital, a slab, part of a column shaft and a sarcophagus, perhaps alluding to Christ future flagellation and burial. The rock on which the Virgin sits may also be intended to represent the summit of Calvary, whilst in"
"of Antonio Canova, a young sculptor whom he met at a dinner party in December 1779 on Canova's first visit to Rome. The painter advised the younger man to put aside his early, Rococo manner and concentrate on conflating the study of nature with the best of antiquities and a narrow range of classic modern sculptors. In 1785 Hamilton bought Leonardo da Vinci's ""Virgin of the Rocks"" and sent it to London for sale. His purchase was the version now held by the National Gallery, London. Such hunting and sale of antiquities was considered a marginally shady undertaking. Hamilton was"
"as well as to ""explore Raphael's masterful interpretation and the spread of his early style among followers in Central Italy."" The Virgin and Child (The Northbrook Madonna) ""The Virgin and Child"" (The Northbrook Madonna) was painted in the early 16th century by the Master of the Northbrook Madonna, active 1500-1525. It is in the permanent collection of the Worcester Art Museum, Worcester, Massachusetts, U.S. The Madonna is wearing a red blouse and a dark blue skirt. She and the infant are both fair skinned with light red-orange hair. Behind them is a green landscape receding to blue mountains under a"
"the Rocks"". It was brought from Parma to Madrid by Isabella Farnese on her second marriage to Philip V of Spain. It was registered among her goods at La Granja in 1746 and now hangs in the Prado Museum. Madonna and Child with the Infant John the Baptist (Correggio, Madrid) The Madonna and Child with the Infant John the Baptist (previously also known as The Virgin of the Sandal) is a 1518 oil on panel painting by Antonio da Correggio. Stylistically it is closest to the frescoes Correggio produced for the Camera di San Paolo and the fact that it"
"Madonna of the Cherries The Madonna of the Cherries is a 1515 painting by Titian, heavily influenced by the work of Giovanni Bellini. Originally oil on wood, it was later transferred to canvas. During the 17th century it formed part of the collection of Archduke Leopold Wilhelm, where it was copied by David Teniers. It is now in the Kunsthistorisches Museum in Vienna. This painting was documented in David Teniers the Younger's catalog ""Theatrum Pictorium"" of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already enjoyed notoriety in Teniers' portrayals of"
"Madonna of the Cat (Romano) Madonna of the Cat is a 1522-1523 oil on wood painting by Giulio Romano, now in the National Museum of Capodimonte in Naples. It draws on the pyramidical compositions of Leonardo da Vinci and Raphael and takes its name from the domestic cat in the foreground, which allows it to be identified with a work known as ""il quadro della gatta"" (the painting of or with the cat) by Vasari, who saw it in Mantua in 1566. The work was probably produced for Federico Gonzaga while the artist was still in Rome and thus formed"
"Madonna del Prato (Raphael) The Madonna del Prato (""Madonna of the Meadow""), formally Madonna with the Christ Child and Saint John the Baptist, is a 1506 painting by Raphael, now held in the Kunsthistorisches Museum in Vienna. It is also known as the Madonna del Belvedere after its long residence in the imperial collection in the Vienna Belvedere. The figures of the Virgin Mary, the infant Jesus, and an infant John the Baptist are shown in a calm grassy meadow, linked by looks. Mary is wearing a gold-bordered blue mantle set against a red dress, extending her right leg along"
"Madonna of the Roses Madonna of the Roses is a c.1530 oil on panel painting by Titian, now in the Uffizi in Florence. As well as the Madonna and Child it also shows Anthony the Great. and a young John the Baptist. It is signed ""Ticianus f."", but this may be a later addition. It formed part of the collection of Archduke Leopold Wilhelm of Austria. In 1793 it and several other works were exchanged between Vienna and Florence, also including Titian's ""Flora"", Dürer's ""Adoration of the Magi"" and Giovanni Bellini's ""Holy Allegory"". Francesco Valcanover, L'opera completa di Tiziano, Rizzoli,"
"Madonna of the Yarnwinder The Madonna of the Yarnwinder (, “Madonna of the Spindles”) is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought"
"Through the Renaissance period, the large altarpiece had a unique status as a commission. An altarpiece was destined to become a focal point, not only visually in the religious building it occupied, but also in the devotions of the worshippers. Leonardo da Vinci's ""Madonna of the Rocks"", now in the National Gallery, London but previously in a chapel in Milan, is one of many images that was used in the petitioning of the Blessed Virgin Mary against plague. The significance of these images to those who commissioned them, who worshipped in their location, and who created them is lost when"
"Madonna and Child with Saint Catherine and Saint James Madonna and Child with Saint Catherine and Saint James is a c.1527 oil on canvas painting by Lorenzo Lotto, now in the Kunsthistorisches Museum in Vienna. To the right are the two martyr saints Catherine of Alexandria and James the Great. The first written mention of the painting dates to 1660, when Boschini's ""Carta del navigar pittoresco la citò"", by which time it was already in the Habsburg collections - that work called it ""splendid... well-thought-out and memorable"". He mis-attributed to Palma il Vecchio, rather than Lotto using a composition by"
"Aldobrandini Madonna The Aldobrandini Madonna is a painting from about 1509–1510 oil by the Italian renaissance artist Raphael. The picture is of the Virgin Mother, Christ child and infant John the Baptist, one of many paintings by Raphael with this trio. It is from early in his third, or Roman period, where distinctive changes are seen from his Umbrian or Florentine period in style, use of colour, and introduction of more natural subjects and settings. Owned for centuries by the aristocratic Roman Aldobrandini family, it has been part of the collection of the National Gallery in London since 1865. It"
"Madonna of the Candelabra The Madonna of the Candelabra is a Madonna painting by the Italian renaissance artist Raphael, dating to about 1513 and is in the collection of the Walters Art Museum in Baltimore. Painted during his Roman period, this tondo Madonna of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture"
"Madonna del Prato (Bellini) Madonna del Prato (""Madonna of the Meadow"") is a 1505 painting of the Virgin Mary and the Christ Child by Giovanni Bellini, now in the National Gallery in London. Originally painted as oil and egg tempera on wood, it was transferred to canvas in 1949, with damage in places. It presents a medieval iconography of the Virgin of humility seated before a full and shining rural panorama, with both the devotional aspect and the landscape aspect given equal prominence. Full of small details of everyday life, this landscape contributes to the intimate and familiar tone of"
"Madonna of the Cat (Federico Barocci) The painting titled Madonna of the Cat or Madonna del gatto was painted in 1575 by Federico Barocci. It is presently in the National Gallery of London. The painting was made for Count Antonio Brancaleoni of Perugia. Engravings of the painting appeared by 1577. The Holy Family, consisting of Joseph, Mary, a young John the Baptist, and a lactating infant Jesus, are portrayed in a domestic moment. John appears to be teasing the cat with a captured goldfinch, an allegoric symbol of Christ's Passion. John's reed rests against a wall in the background. The"
"x-ray or infra-red examination. In 2009/2010 the painting underwent cleaning and conservation work, returning to display in July 2010. The National Gallery, in a preliminary announcement of the results of the work, said that it revealed that the painting was largely, possibly entirely, by Leonardo, and unfinished in parts. The full publication of the findings was released later in 2010. In 1625 the ""Virgin of the Rocks"" now in the Louvre was seen at Fontainebleau by Cassiano dal Pozzo. In 1806, the French restorer Fr Hacquin transferred the Louvre ""Virgin of the Rocks"" from its panel onto canvas. For a"
"and other church fittings to private collectors increased during the century, especially in Italy, where the Grand Tour gave rise to networks of dealers and agents. Leonardo da Vinci's London ""Virgin of the Rocks"" was sold to the Scottish artist and dealer Gavin Hamilton by the church in Milan that it was painted for in about 1781; the version in the Louvre having apparently been diverted from the same church three centuries earlier by Leonardo himself, to go to the King of France. The wars following the French Revolution saw large quantities of the finest art, paintings in particular, carefully"
"the Archduke's art collection: Madonna of the Cherries The Madonna of the Cherries is a 1515 painting by Titian, heavily influenced by the work of Giovanni Bellini. Originally oil on wood, it was later transferred to canvas. During the 17th century it formed part of the collection of Archduke Leopold Wilhelm, where it was copied by David Teniers. It is now in the Kunsthistorisches Museum in Vienna. This painting was documented in David Teniers the Younger's catalog ""Theatrum Pictorium"" of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already enjoyed notoriety"
"Madonna of Jan Vos The Madonna of Jan Vos (also known as Virgin and Child, with Saints and Donor) is a small oil panel painting begun by the Early Netherlandish artist Jan van Eyck c. 1441 and finished by his workshop after his death in 1442. As he died during its completion, it is generally considered to be his last work. The panel was commissioned by Jan Vos, who, in March 1441, took office near Bruges as prior of a Carthusian Monastery , the earliest date that he could have instructed van Eyck. Art historians generally agree that van Eyck"
"The Aldobrandini Madonna The Madonna of the Rabbit, The Aldobrandini Madonna, The Virgin and Child with the Infant Saint John and a Female Saint or Donor or The Virgin and Child with the Infant Saint John and Saint Catherine is an oil on canvas painting by Titian dating to around 1530 and now held in the National Gallery in London. There are studio copies in the Galleria Palatina in Florence and in the Kunsthistorisches Museum in Vienna. Frizzoni proposed identifying this Madonna with the one mentioned in 1532 by Marcantonio Michiel in the Venetian house of Andrea Odoni (subject of"
"Madonna of the Rosary (Lotto) Madonna of the Rosary is a 1539 oil on canvas painting by Lorenzo Lotto, signed and dated below the Virgin Mary's feet "".L.LOTUS.MDXXXIX."". It was commissioned by the Confraternity of the Rosary in the Italian town of Cingoli in the province of Macerata as an altarpiece for the church of San Domenico. After completing the work, Lotto left the Marche to return to Venice one last time. To preserve the painting it was moved in the 1970s to the church of San Niccolò, then into the town's Pinacoteca comunale before being returned to San Domenico."
"Madonna of the Baldacchino The Madonna of the Baldacchino is a c.1506-1508 oil on canvas holy conversation-style painting by Raphael, now in the Galleria Palatina in Florence. It was Raphael's first major commission in Florence, produced for the cappella Dei in Santo Spirito. It remained incomplete on the artist's return to Rome in 1508 after being summoned by pope Julius II. It was a popular model for artists such as Andrea del Sarto, Fra' Bartolomeo and Lorenzo Lotto in the 1510s, although another altarpiece was commissioned from Rosso Fiorentino for the chapel. In Pescia Cathedral by the mid 16th century,"
"Madonna and Child with St John the Baptist and St Catherine of Alexandria Madonna and Child with St John the Baptist and St Catherine of Alexandria is a c.1495 oil on panel painting by Perugino of the Madonna and Child with John the Baptist and Catherine of Alexandria. It is now in the Louvre in Paris. It was produced using the same cartoon as ""Madonna and Child with Two Saints"" (Kunsthistorisches Museum) and ""Madonna and Child with the Infant John the Baptist"" (Städel Museum), with very little variation between the three works. The face of the Madonna is based on"