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1513-1519
The last years: Rome and France
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The Mannerist debt to Leonardo
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The influence of Leonardo on the creative methods
of modern art was profound and enduring; yet in the
field of Mannerism, the contributions of Raphael and
Michelangelo seem at first glance more obvious. In
Milan, where after his death the cultural picture again
assumed a provincial note, Leonardo's influence, like
the teaching of Gaudenzio, persisted throughout the 16th
century. It featured prominently in the work of Cesare
Magni, and it also influenced the style and thinking of
Gerolamo, Giovanni Ambrogio Figino, and Giovanni Paolo
Lomazzo. Gerolamo, associated with Cesare da Sesto and
mentioned with Melzi at the cathedral workshop, brought
an elegant but coldly academic approach to the
Leonardesque idiom, acknowledging at times the demands
of the new reforms. Other highly gifted artists to be
affected were Sodoma and Correggio; the latter assuaged
the severity of Mantegna with sfumato, and
derived from Leonardo a natural generosity of approach
and a talent for compositional fluency.
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Ambrogio Figino, Salome, Quadreria
Arcivescovile, Milan.
Formerly attributed to Cesare da Sesto, the drawing is
markedly
in the style of Leonardo.
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Cesare Magni, The Holy Family with the Young St John,
Brera, Milan.
A follower of Cesare da Sesto, from whom he borrowed traits from
Leonardo and Raphael,
Magni bears witness to the fact that Leonardo's message was deeply
rooted in Lombardy
even in the middle years of the 16th century.
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Correggio, Madonna and Child, c.1515, Museo del Prado,
Madrid.
The figures, wrapped in almost tangible material, are bathed in the
soft chiaroscuro of morning light.
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Bernardino Lanino
(Italian, about 1512-1583)
Madonna and Child Enthroned with Saints and
Donors,
1552
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Bernardino Lanino, Madonna and Child
with Saints, detail,
parish chuch, Borgosesia.
Active in Milan and eastern Piedmont, Lanino, a
pupil of Gaudenzio from 1540, brought a sentimental
interpretation to the Leonardesque manner.
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Sodoma
The Marriage of Alexander and Roxane
1519-20
La Farnesina, Rome.
After his apprenticeship in Vercelli and contact with the work of
Leonardo in Milan,
Sodoma moved to Rome where his style took on classical tones, alongside
Raphael and Peruzzi;
his debt to Leonardo, evident in his typology, was reaffirmed in his
late work (Sacred Conversation, 1542). |
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