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1508-1513
The Milan of Charles d'Amboise
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The painting of the St Anne
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In addition to the movement of the figures and the
open surroundings, this revised version of the subject
(1510-13) in the Louvre has a suggestion of water in the
background, accentuating the overall sense of
undulation.
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Leonardo da Vinci
The Virgin and Child with St Anne
c. 1510
Musee du Louvre, Paris |
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Leonardo da Vinci
The Virgin and Child with St Anne (detail)
c. 1510
Musee du Louvre, Paris
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The figures and the natural space are harmoniously combined. A
distant landscape of ice that stretches into the background suggests
the dimension of time without end. It marks the culmination of a
series of mountain landscapes initiated by Leonardo in the
Annunciation. The watery translucence derives from the same
technique that was used in the Mona Lisa.
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Leonardo da Vinci
The Virgin and Child with St Anne (detail)
c. 1510
Musee du Louvre, Paris
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There is an uninterrupted link between the rocks in the
foreground and the background; the geological and temporal
stratifications of the earth's crust are the physical manifestations
of the slow, continuous evolution of the world.
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Leonardo da Vinci
Design for St Anne
c. 1501
Slate pencil on prepared paper
Private collection, Geneva
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Cesare da Sesto, Madonna with Child and
Lamb, 1515, Poldi Pezzoli, Milan.
The figure of St Anne is here omitted, perhaps due
to the decline of the saint's cult In the landscape
background, architecture of a French character fades
away in the mist. The treatment shows the painter's
faithfulness to Leonardo's version.
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Bernardino Lanino, The Virgin, the Child
and St Anne, Brera, Milan.
This theme had already been treated by Raphael and
del Sarto.
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