Ein Bildnis der Claude de France?: Antike und Heraldik in Leonardos "Dame mit Hermelin"
The ermine‘s "serpentine pose" und "heraldic dignity" (Kenneth Clark) demand and permit a closer examination of its style and meaning. It frees Leonardo’s Lady with an ermine from her modern identification as Cecilia Gallerani and the connected dating of the painting before the y...
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| Format: | Artikel |
| Sprache: | German |
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2021
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| Zusammenfassung: | The ermine‘s "serpentine pose" und "heraldic dignity" (Kenneth Clark) demand and permit a closer examination of its style and meaning. It frees Leonardo’s Lady with an ermine from her modern identification as Cecilia Gallerani and the connected dating of the painting before the year 1492. Philological arguments and technical observations explain that Bellincioni’s sonnet on Cecilia’s portrait does not refer to the Cracovian composition. The new relative dating occurs as follows. The serpentine pose of the ermine corresponds to Leonardo’s drawings and notes on the locomotion of the animals. While his vocabolary follows recent latin translations of Aristotle’s treatise Περὶ πορείας ζῴων (On locomotion of the animals), the draftsman demonstrates the forces and movements by means of concave and convex outlines, coordinated with curved parallel hatching. Precisely this method ermerges in Leonardo’s sketches for the first time around the year 1504. He follows here Filippino Lippi’s earlier reception of Antiquity, sketches after wall paintings of the early imperial period in Rome. Filippino imitates the antique brushwork and chiaroscuro. By mere graphic means he shows the effects of changing light on the surfaces of bodies in movement. Leonard‘s curved hatching is especially linked with two projects of the same period, the St Anne with the Virgin, the Child and a Lamb and Leda with the Swan. The ermine’s serpentine pose belongs here. In the Cracovian composition we find signs of its occasion or commission around the year 1507. The colours white, blue, gold and red of the animal and the lady’s costume allow to recognize here a portrait of Claude de France (1499–1524) in her temporary role as designated heiress of Milan-Lombardy and Genoa-Liguria. The painting does not only manifest the Florentin-French political alliance. Further philogical aspects around the year 1500, French translations and editions of Virgil’s Aeneis and Boccaccio’s Genealogie deorum gentilium, let discover the genealogical meaning of the three white animals, the lamb, the swan and the ermine. |
| Beschreibung: | 15 Illustrationen |
| ISSN: | 0071-6723 |
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| 520 | 3 | |a The ermine‘s "serpentine pose" und "heraldic dignity" (Kenneth Clark) demand and permit a closer examination of its style and meaning. It frees Leonardo’s Lady with an ermine from her modern identification as Cecilia Gallerani and the connected dating of the painting before the year 1492. Philological arguments and technical observations explain that Bellincioni’s sonnet on Cecilia’s portrait does not refer to the Cracovian composition. The new relative dating occurs as follows. The serpentine pose of the ermine corresponds to Leonardo’s drawings and notes on the locomotion of the animals. While his vocabolary follows recent latin translations of Aristotle’s treatise Περὶ πορείας ζῴων (On locomotion of the animals), the draftsman demonstrates the forces and movements by means of concave and convex outlines, coordinated with curved parallel hatching. Precisely this method ermerges in Leonardo’s sketches for the first time around the year 1504. He follows here Filippino Lippi’s earlier reception of Antiquity, sketches after wall paintings of the early imperial period in Rome. Filippino imitates the antique brushwork and chiaroscuro. By mere graphic means he shows the effects of changing light on the surfaces of bodies in movement. Leonard‘s curved hatching is especially linked with two projects of the same period, the St Anne with the Virgin, the Child and a Lamb and Leda with the Swan. The ermine’s serpentine pose belongs here. In the Cracovian composition we find signs of its occasion or commission around the year 1507. The colours white, blue, gold and red of the animal and the lady’s costume allow to recognize here a portrait of Claude de France (1499–1524) in her temporary role as designated heiress of Milan-Lombardy and Genoa-Liguria. | |
| 520 | 3 | |a The painting does not only manifest the Florentin-French political alliance. Further philogical aspects around the year 1500, French translations and editions of Virgil’s Aeneis and Boccaccio’s Genealogie deorum gentilium, let discover the genealogical meaning of the three white animals, the lamb, the swan and the ermine. | |
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| issn | 0071-6723 |
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| spelling | Boesten-Stengel, Albert Verfasser (DE-588)108000842X aut Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" Albert Boesten-Stengel, Uniwersytet Mikołaja Kopernika w Toruniu A portrait of Claude de France? : Antiquity and heraldry in Leonardo's "Lady with an ermine" 2021 15 Illustrationen txt rdacontent n rdamedia nc rdacarrier The ermine‘s "serpentine pose" und "heraldic dignity" (Kenneth Clark) demand and permit a closer examination of its style and meaning. It frees Leonardo’s Lady with an ermine from her modern identification as Cecilia Gallerani and the connected dating of the painting before the year 1492. Philological arguments and technical observations explain that Bellincioni’s sonnet on Cecilia’s portrait does not refer to the Cracovian composition. The new relative dating occurs as follows. The serpentine pose of the ermine corresponds to Leonardo’s drawings and notes on the locomotion of the animals. While his vocabolary follows recent latin translations of Aristotle’s treatise Περὶ πορείας ζῴων (On locomotion of the animals), the draftsman demonstrates the forces and movements by means of concave and convex outlines, coordinated with curved parallel hatching. Precisely this method ermerges in Leonardo’s sketches for the first time around the year 1504. He follows here Filippino Lippi’s earlier reception of Antiquity, sketches after wall paintings of the early imperial period in Rome. Filippino imitates the antique brushwork and chiaroscuro. By mere graphic means he shows the effects of changing light on the surfaces of bodies in movement. Leonard‘s curved hatching is especially linked with two projects of the same period, the St Anne with the Virgin, the Child and a Lamb and Leda with the Swan. The ermine’s serpentine pose belongs here. In the Cracovian composition we find signs of its occasion or commission around the year 1507. The colours white, blue, gold and red of the animal and the lady’s costume allow to recognize here a portrait of Claude de France (1499–1524) in her temporary role as designated heiress of Milan-Lombardy and Genoa-Liguria. The painting does not only manifest the Florentin-French political alliance. Further philogical aspects around the year 1500, French translations and editions of Virgil’s Aeneis and Boccaccio’s Genealogie deorum gentilium, let discover the genealogical meaning of the three white animals, the lamb, the swan and the ermine. Zusammenfassung in englischer Sprache unter dem Titel: A portrait of Claude de France? Antiquity and heraldry in Leonardo's "Lady with an ermine" Claudia Frankreich, Königin 1499-1524 (DE-588)12406163X gnd rswk-swf Leonardo da Vinci 1452-1519 Dame mit Hermelin (DE-588)4412048-5 gnd rswk-swf Datierung (DE-588)4113278-6 gnd rswk-swf Heraldik (DE-588)4072428-1 gnd rswk-swf Bildnis (DE-588)4006627-7 gnd rswk-swf Leonardo da Vinci 1452-1519 Dame mit Hermelin (DE-588)4412048-5 u Heraldik (DE-588)4072428-1 s Datierung (DE-588)4113278-6 s DE-604 Claudia Frankreich, Königin 1499-1524 (DE-588)12406163X p Bildnis (DE-588)4006627-7 s volume:19 year:2021 pages:31-62 Folia historiae artium / Polska Akademia Umiejętności, Komisja Historii Sztuki, Kraków Kraków, 2021 Seria nowa, 19 (2021), Seite 31-62 (DE-604)BV002527794 0071-6723 (DE-600)212914-0 |
| spellingShingle | Boesten-Stengel, Albert Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" Claudia Frankreich, Königin 1499-1524 (DE-588)12406163X gnd Leonardo da Vinci 1452-1519 Dame mit Hermelin (DE-588)4412048-5 gnd Datierung (DE-588)4113278-6 gnd Heraldik (DE-588)4072428-1 gnd Bildnis (DE-588)4006627-7 gnd |
| subject_GND | (DE-588)12406163X (DE-588)4412048-5 (DE-588)4113278-6 (DE-588)4072428-1 (DE-588)4006627-7 |
| title | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" |
| title_alt | A portrait of Claude de France? : Antiquity and heraldry in Leonardo's "Lady with an ermine" |
| title_auth | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" |
| title_exact_search | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" |
| title_exact_search_txtP | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" |
| title_full | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" Albert Boesten-Stengel, Uniwersytet Mikołaja Kopernika w Toruniu |
| title_fullStr | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" Albert Boesten-Stengel, Uniwersytet Mikołaja Kopernika w Toruniu |
| title_full_unstemmed | Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos "Dame mit Hermelin" Albert Boesten-Stengel, Uniwersytet Mikołaja Kopernika w Toruniu |
| title_short | Ein Bildnis der Claude de France? |
| title_sort | ein bildnis der claude de france antike und heraldik in leonardos dame mit hermelin |
| title_sub | Antike und Heraldik in Leonardos "Dame mit Hermelin" |
| topic | Claudia Frankreich, Königin 1499-1524 (DE-588)12406163X gnd Leonardo da Vinci 1452-1519 Dame mit Hermelin (DE-588)4412048-5 gnd Datierung (DE-588)4113278-6 gnd Heraldik (DE-588)4072428-1 gnd Bildnis (DE-588)4006627-7 gnd |
| topic_facet | Claudia Frankreich, Königin 1499-1524 Leonardo da Vinci 1452-1519 Dame mit Hermelin Datierung Heraldik Bildnis |
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