The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques
The Lady with an Ermine is one of the greatest masterpieces by the Italian artist Leonardo da Vinci from around 1489-1490, depicting Cecilia Gallerani, most likely at the time when she was the mistress of Ludovico Sforza, Duke of Milan. This painting belongs to a group of four portraits of women pai...
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| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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2024
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:techne_21487 |
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openedition |
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OpenEdition Journal |
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Anglais |
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Article ou chapitre numérique |
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0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
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analyse technique Léonard de Vinci La Dame à l’hermine Cracovie Musée national technical analysis Leonardo da Vinci Lady with an Ermine Krakow National Museum |
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analyse technique Léonard de Vinci La Dame à l’hermine Cracovie Musée national technical analysis Leonardo da Vinci Lady with an Ermine Krakow National Museum Hoyo-Meléndez, Julio M. del Gargano, Marco Chmielewska, Małgorzata Grochowska-Angelus, Anna Novljaković, Katarzyna Frączek, Piotr Matosz, Marta Obarzanowski, Michał Czop, Janusz The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| description |
The Lady with an Ermine is one of the greatest masterpieces by the Italian artist Leonardo da Vinci from around 1489-1490, depicting Cecilia Gallerani, most likely at the time when she was the mistress of Ludovico Sforza, Duke of Milan. This painting belongs to a group of four portraits of women painted by Leonardo along with the Mona Lisa, Ginevra de' Benci and La Belle Ferronnière. It was acquired by Prince Adam Jerzy Czartoryski around 1800 in Italy. In 2012, a group of conservators and scientists from the National Museum in Krakow in collaboration with experts from various institutions in Poland and abroad conducted the sixth research campaign on the painting focusing on its technological aspects. Various techniques were applied to study the materials and methods employed by Leonardo, including technical photography, X-radiography, micro X-ray fluorescence spectrometry. Physico-chemical analyses allowed to identify characteristic pigments employed by Leonardo da Vinci such as vermilion, iron-based earth pigments, lead-tin yellow, lead white, and ultramarine. The background was overpainted in black, most likely before its sale, in the 18th century. The original background most likely consists of an underlayer layer showing slight grey tone modulations obtained using iron oxide or hydroxide mineral earths. The absence of copper-based pigments in the background does not validate the hypothesis of an existing painting hidden under the black repainted zone. A dominance of lead white in brighter parts of the painting was noted, while tonal transitions were achieved using thin layers of an iron-based glaze in the sfumato technique. |
| author |
Hoyo-Meléndez, Julio M. del Gargano, Marco Chmielewska, Małgorzata Grochowska-Angelus, Anna Novljaković, Katarzyna Frączek, Piotr Matosz, Marta Obarzanowski, Michał Czop, Janusz |
| author_facet |
Hoyo-Meléndez, Julio M. del Gargano, Marco Chmielewska, Małgorzata Grochowska-Angelus, Anna Novljaković, Katarzyna Frączek, Piotr Matosz, Marta Obarzanowski, Michał Czop, Janusz |
| author_sort |
Hoyo-Meléndez, Julio M. del |
| title |
The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| title_short |
The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| title_full |
The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| title_fullStr |
The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| title_full_unstemmed |
The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques |
| title_sort |
lady with an ermine – portrait of cecilia gallerani: research into leonardo da vinci’s painting materials and techniques |
| publisher |
Technè |
| publishDate |
2024 |
| container_title |
URI:https://journals.openedition.org/techne |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/11v45 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/techne/21487 |
| _version_ |
1877292396111200256 |
| spelling |
openedition-oai:revues.org:techne_21487 https://doi.org/10.4000/11v45 urn:doi:10.4000/11v45 en https://journals.openedition.org/techne/21487 2024-06-20T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/11v45 https://creativecommons.org/licenses/by-nc-nd/4.0/ The Lady with an Ermine – Portrait of Cecilia Gallerani: Research into Leonardo da Vinci’s painting materials and techniques Technè C2RMF info:eu-repo/semantics/reference/issn/2750-6185 info:eu-repo/semantics/reference/issn/1254-7867 URI:https://journals.openedition.org/techne Hoyo-Meléndez, Julio M. del Gargano, Marco Chmielewska, Małgorzata Grochowska-Angelus, Anna Novljaković, Katarzyna Frączek, Piotr Matosz, Marta Obarzanowski, Michał Czop, Janusz analyse technique Léonard de Vinci La Dame à l’hermine Cracovie Musée national technical analysis Leonardo da Vinci Lady with an Ermine Krakow National Museum The Lady with an Ermine is one of the greatest masterpieces by the Italian artist Leonardo da Vinci from around 1489-1490, depicting Cecilia Gallerani, most likely at the time when she was the mistress of Ludovico Sforza, Duke of Milan. This painting belongs to a group of four portraits of women painted by Leonardo along with the Mona Lisa, Ginevra de' Benci and La Belle Ferronnière. It was acquired by Prince Adam Jerzy Czartoryski around 1800 in Italy. In 2012, a group of conservators and scientists from the National Museum in Krakow in collaboration with experts from various institutions in Poland and abroad conducted the sixth research campaign on the painting focusing on its technological aspects. Various techniques were applied to study the materials and methods employed by Leonardo, including technical photography, X-radiography, micro X-ray fluorescence spectrometry. Physico-chemical analyses allowed to identify characteristic pigments employed by Leonardo da Vinci such as vermilion, iron-based earth pigments, lead-tin yellow, lead white, and ultramarine. The background was overpainted in black, most likely before its sale, in the 18th century. The original background most likely consists of an underlayer layer showing slight grey tone modulations obtained using iron oxide or hydroxide mineral earths. The absence of copper-based pigments in the background does not validate the hypothesis of an existing painting hidden under the black repainted zone. A dominance of lead white in brighter parts of the painting was noted, while tonal transitions were achieved using thin layers of an iron-based glaze in the sfumato technique. Daté des années 1489-1490 environ, le portrait appelé La Dame à l’hermine est l’un des plus grands chefs-d’œuvre de Léonard de Vinci. Il représente Cecilia Gallerani, probablement à l’époque où elle était la maîtresse de Ludovico Sforza, duc de Milan. Ce tableau appartient à un groupe de quatre portraits de femmes peints par le maître toscan, avec La Joconde, Ginevra de' Benci et La Belle Ferronnière. Il fut acquis par le prince Adam Jerzy Czartoryski vers 1800 en Italie. En 2012, un groupe de conservateurs et de scientifiques du musée national de Cracovie, en collaboration avec des experts de diverses institutions polonaises et étrangères, a mené la sixième campagne d’étude consacrée au tableau ; celle-ci portait principalement sur ses aspects techniques. Différents procédés ont été employés pour étudier les matériaux et méthodes de Léonard de Vinci, notamment la photographie technique, la radiographie X, la spectrométrie de microfluorescence des rayons X. Des pigments utilisés de manière caractéristique par Léonard de Vinci ont été identifiés au moyen d’analyses physico-chimiques : vermillon, pigments minéraux à base de fer, jaune plomb-étain, blanc de plomb et outremer. Un repeint noir masque le fond, très probablement appliqué avant sa vente, au xviiie siècle. Le fond d’origine est vraisemblablement constitué d’une couche sous-jacente présentant de légères modulations de tons gris, obtenue à l’aide de terres minérales à base d’oxyde ou d’hydroxyde de fer. L’absence de pigments à base de cuivre dans le fond invalide l’hypothèse d’une peinture existante cachée sous le repeint noir. Une prédominance de blanc de plomb dans les zones les plus lumineuses du tableau a été constatée, tandis que les transitions de tons ont été réalisées au moyen de la technique du sfumato. |