Leonardo da Vinci - Madonna and Carnation. 42x215; 67 cm
The more centuries the present separates from the desired past, the more difficult it is to establish the reliability of the facts. So the picture of the great Leonardo still causes not only admiration, but also questions.
It is customary to date it back to 1478, when the artist was still very young and worked in the workshop of another famous Italian Verrocchio. And in fact, the picture has similar features with the paintings of the teacher, however, it still has more copyrighted finds. This is also manifested in the sfumato technique, which presents us with the face of the Madonna as a certain detached and high image, both in the character of the picture and in the composition. The two main figures of the canvas are given to us in sharp contrast - a humble, inspired mother with a thin graceful carnation in her hands and a slightly noticeable smile on her face, and an energetic restless baby who even rests her leg against a soft pillow to reach for a flower. Very unusual implementation of the canonical plot!
The history of the painting is noteworthy - Vasari in his manuscripts mentions it as the "most excellent Madonna", which was intended for Pope Clement VII. After the death of Clement in 1534, traces of the work were lost, and only in 1889, it was unexpectedly found. She was bought by a certain merchant at the sale of personal belongings of a certain widow who lived in the town of Gunzburg, and soon resold it to the Munich Pinacoteca, presenting the canvas as a lost work of art Verrocchio, taking only 800 stamps.
Pinakothek art historians recognized in the painting the lost “Madonna with a Carnation” by Leonardo da Vinci, however, it is still believed that this is just a copy from the original, which remained in obscurity.