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A deep dive into Leonardo da Vinci’s “The Virgin of the Rocks” (ca. 1491/2-9 and 1506-8) has revealed unexpected images of now-hidden drawings lying underneath its surface.
15 years ago, it was revealed that the Virgin Mary’s pose had been changed during Leonardo’s process of completing the work. However, this month, London’s National Gallery announced the findings of its even closer look into the famous artwork, depicting a haloed Virgin Mary with an infant Saint John the Baptist and Jesus Christ.
Using advanced techniques including infrared and hyperspectral imaging, they were able to reveal Leonardo’s original design, which is vastly different than the final product. In the initial sketch, an angel wraps an infant Jesus Christ tightly in her arms, while she and Mary gaze at him lovingly from a distance. The findings were made possible because of the presence of zinc in the drawing material, which was made visible in the macro x-ray fluorescence (MA-XRF) maps revealing its outline. Leonardo’s motivation to rework the canvas is still unclear to researchers.
“By its very nature, much of the research we do at the National Gallery takes place in closed studios, laboratories and libraries,” said Dr. Caroline Campbell, Director of Collections and Research. “This is an exciting opportunity to not only share our innovative findings, but also to invite the public to explore and engage with what we have found.”
Organizations worldwide are celebrating the 500th anniversary of the polymath’s death. National Gallery is opening an immersive exhibition, Leonardo: Experience a Masterpiece, on November 9, 2019.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.