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Lady with an Ermine

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Lady with an Ermine
Italian:Dama con l'ermellino,
Polish:Dama z gronostajem
ArtistLeonardo da Vinci
Year1489–1491
MediumOilonwalnutpanel
SubjectCecilia Gallerani
Dimensions54 cm × 39 cm (21 in × 15 in)
LocationCzartoryski Museum,Kraków,Poland

TheLady with an Ermine[n 1]is aportrait paintingby theItalian RenaissanceartistLeonardo da Vinci.Dated toc. 1489–1491,the work is painted inoilson apanelofwalnut wood.Its subject isCecilia Gallerani,a mistress ofLudovico Sforza( "Il Moro" ),Duke of Milan;Leonardo was painter to the Sforza court inMilanat the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others beingGinevra de' Benci,La Belle Ferronnièreand theMona Lisa.[3]

Lady with an Ermineis now housed at theCzartoryski MuseuminKraków,and is one ofPoland'snational treasures.[4]It is part of thePrinces Czartoryski Collection,which was sold for€100 million (5% of the estimated market value of the entire collection)[5]on 29 December 2016 to the Polish government byPrinces Czartoryski Foundation,represented byAdam Karol Czartoryski,the last direct descendant ofIzabela Czartoryska FlemmingandAdam George Czartoryski,who brought the painting to Poland from Italy in 1798.[6][7][8]

Description

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Composition

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Detailof the lady's head

The painting wasexecuted in oilson a somewhat small, 54 × 39 cm (21 × 15 in)walnut woodpanel.[9][10]It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left.[11]The animal in her arms twists in a similar manner, resulting in considerablecontrappostowith the lady,[12]a technique Leonardo explored earlier with the angel in theVirgin of the Rocks.[13]The work is prepared with a layer of whitegessoand a layer of brownishunderpaint.[14]In general, the paint is evenly applied akin to theMona Lisa,though certain areas of the lady's skin are more layered.[1]Also present are the subtle remains ofspolvero(in the outline of the face and head), underdrawing (in the right arm, right hand, left hand, top of nose and edge of the hair),[15]and fingerprints (the face and animal's head), the latter of which are particularly common in Leonardo's paintings.[1]It is made from a single piece of walnut wood;[16][1]Leonardo recommended,[17]and favored walnut wood,[18]though it was not commonly used by other artists inLombardy.[19]The wood is thin (about 4–5 millimetres (0.16–0.20 in))[14]and is most likely from the same tree as the wood for his later portrait,La Belle Ferronnière.[1]TheLady with an Ermineis also connected toLa Belle Ferronnière,as well as Leonardo's earlierPortrait of a Musician,due to the three paintings including black backgrounds.[9]

Though there are a few areas of minor damage, art historianFrank Zöllnerinsists the work is in "very good condition... similar to the equally well preservedMona Lisa".[1]Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted.[20]Promotion of such an analysis largely began with the art historianKenneth Clark,[20]who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted.[21]Scholars such asAdolfo Venturi,Angela Ottino della Chiesa and Jack Wasserman advanced the idea;[20]however, a 1992 technical analysis at theNational Gallery of Artled by David Bull has confirmed that the damage was limited to the background.[14]Specifically, the background was likely originally a bluish-grey,[1]overpaintedwith black during the mid-18th century.[20]The signatureLEONARD D'AWINCIin the top left corner was probably also added at this time.[1]There is also slight overpainting in the mouth and nose; some art historians suggestEugène Delacroixwas responsible for the overpaint in the background and elsewhere.[20]The background was also subject to the misconception that it originally included a window.[1]It was proposed byKazimierz Kwiatkowski,who led 1955X-ray testingat Warsaw Laboratories, and explained certain spots in the right background as being remnants of a window.[20][n 2]Such a conclusion has been disproven by Bull,Pietro C. Maraniand others.[1][20]In light of this revision—with the primary damage being overpaint in the background—the art historianMartin Kempnoted that "the picture is in much better condition than the standard accounts suggest, and gives the clearest indication of the freshly brilliant quality of Leonardo's painting during his period at the Sforza court in Milan".[20]

The Lady

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The subject has been identified with reasonable certainty asCecilia Gallerani,the mistress of Leonardo's Milanese employer,Ludovico Sforza.[22]She looks to her left at something out of frame, toward the light, where the biographerWalter Isaacsonsuggests Ludovico is.[23]Following the marriage ofIsabella of Aragon, Duchess of MilanandGian Galeazzo Sforza,her 'Spanish style' dress would have been particularly fashionable.[12]She has a silksberniaon over her left shoulder, though Leonardo has simplified the traditional manner of wearing—where it would be draped over both shoulders—potentially to avoid too much complication in the various elements of the painting.[12]Her right shoulder shows an ornately embroidered gold band over avelvetdress.[12]Again, Leonardo has simplified the design, by having the left shoulder band covered by thesbernia,so as to not take away from the animal's detailed head.[12]Her coiffure, known as acoazzone,confines her hair smoothly to her head with two bands of it bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.[24][25]

As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement.[26]The three-quarter profile portrait was one of his many innovations. Il Moro's court poet,Bernardo Bellincioni,was the first to propose that Cecilia was poised as if listening to an unseen speaker.[27]This work in particular shows Leonardo's expertise in painting the human form. The artist painted Cecilia's outstretched hand with a lot of detail, including the shape of each fingernail, the lines around her knuckles, and even the way the tendon in her bent finger moved as it bent[25]

A recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character ofCaterina Sforza,the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed toAmazonsin mythology.[28][29]

The ermine

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Detailof the ermine

The animal resting in Cecilia's arms is usually known as anermine.Commentators have noted that it is too large to be an actual ermine,[30]but its size is explained by its being of a largely symbolic nature. The art historianLuke Sysonnotes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time".[10]There are several interpretations of the ermine's significance and they are often used in combination with each other.[30][31][32]In its winter coat, the ermine was a traditionalsymbolof purity and moderation,[10]as it was believed it would face death rather than soil its white coat.[32]

In his old age, Leonardo compiled abestiaryin which he recorded: "The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity."[33]He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die rather than soil itself."[34]A drawing by Leonardo in pen and ink of c. 1490, housed at theFitzwilliam Museumin Cambridge, depicts an ermine representing these ideals by surrendering to a hunter.[9]The ermine has also been noted to have a personal significance to Ludovico Sforza, as he would use it as a personal emblem, having been appointed byFerdinand Ias a member of theOrder of the Erminein 1488.[32]Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, isgalê(γαλῆ) orgaléē(γαλέη).[31]Such allusions were particularly popular in Renaissance culture;[30]Leonardo himself had done something similar in his earlier work,Ginevra de' Benci,when he surrounded Ginevra with ajuniper tree,orgineproin Italian.[35]Krystyna Moczulska suggests that the ermine follows the meaning of an ermine or weasel in classical literature, where it relates to pregnancy, sometimes as an animal that protected pregnant women. Around the time of the painting's creation, Cecilia was known to be pregnant with Ludovico's illegitimate son.[1]

Attribution

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It was not until the 20th century that theLady with an Erminewas widely accepted by scholars to be a work of Leonardo.[1]The attribution is due to the style ofchiaroscuro,intricate detail and "contemplative tone" typical of Leonardo.[36]

Dating

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TheLady with an Erminecan securely be dated to Leonardo'sfirst Milanese period(c. 1482–1499).[37]Specifically, scholars date the painting to 1489–1491.[n 3]

Background

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Historical context

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The Ermine Hunt(c. 1490), a pen and ink drawing by Leonardo da Vinci

To some extent the painting includes traditional characteristics of Italian portraiture from the 1430s and 1440s;[10]the coloring, for example, is particularly reminiscent of the Florentinequattrocentotradition.[21]

Commission

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The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer,Ludovico Sforza.[n 4]

Gallerani was a member of a large family that was neither wealthy nornoble.Her father served for a time at the Duke's court. At the time of the portrait, she was about sixteen years old and was renowned for her beauty, scholarship and poetry.[40]She was married at approximately age six to a young nobleman of the house ofVisconti,but sued toannulthe marriage in 1487 for undisclosed reasons and the request was granted. She became the Duke's mistress and bore him a son, even after his marriage toBeatrice d'Esteeleven years previously.[41]Beatrice was promised to the Duke when she was only five, and married him when she was sixteen in 1491. After a few months, she discovered the Duke was still seeing Gallerani, and forced the Duke to end the relationship by having her married to Count Ludovico Carminati di Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.[42]

History

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It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress,[37]Cecilia Gallerani, but theLady with an Ermineremained largely unknown to scholars until nearly the 20th century.[43]The painting was acquired in Italy in 1798 by PrinceAdam George Czartoryski,the son ofIzabela Czartoryska Flemmingand PrinceAdam Kazimierz Czartoryski,and incorporated into the Czartoryski family collections atPuławyin 1800. The inscription on the top-left corner of the painting,LA BELE FERONIERE. LEONARD DAWINCI.,was probably added by a restorer shortly after its arrival in Poland,[39]and before the background was overpainted.[44]Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. TheBelle Ferronièreis the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.[45]

"Monuments Men" – Frank P. Albright, Everett Parker Lesley, Joe D. Espinosa – and Polish liaison officerKarol Estreicherpose with the painting upon its return to Poland in April 1946.[46]

The painting travelled widely during the 19th century. During theNovember Uprisingin 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace atSieniawa.[47]Soon after, it was transferred to the Czartoryski place of exile in Paris, theHôtel Lambert.The family returned to Poland in 1869, settling inKraków.In the tumultuous aftermath of theGerman occupation of Parisin 1871 and theCommune,the family brought the painting to Kraków in 1876[47]and the museum opened in 1878. DuringWorld War I,the painting was moved to theGemäldegalerie Alte Meister[48]inDresdenfor safe-keeping,[49]returning to Kraków in 1920.

In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa,[47]but it was discovered and seized by theNazisand sent to theKaiser Friedrich MuseuminBerlin.In 1940,Hans Frank,the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in theWawel Castle.In 1941, it was transferred to a warehouse of other plundered art inBreslau.In 1943 it was brought back to Kraków and exhibited at the Wawel Castle.[47]At the end of the Second World War it was discovered by Allied troops in Frank's country home inSchliersee,Bavaria,and was returned to Poland in 1946. It was again placed on exhibit at theCzartoryski Museumin Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw (1952), Moscow (1972), Washington, D.C. (1991/92), Malmö (1993/94), Rome/Milan (1998), Florence (1999).[1]

The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in theNational Museum, Kraków,just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.[50]

See also

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Notes

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  1. ^The work is most commonly known as theLady with an Ermine(Italian:Dama con l'ermellino[ˈdaːmakonlermelˈliːno];Polish:Dama z gronostajem). It is sometimes known as thePortrait of Cecilia Gallerani,[1]thePortrait of an Unknown Woman,theLady with a Ferret,[2]or theLady with a Marten.[2]
  2. ^Kwiatkowski himself, however, noted that they "had perhaps been abandoned by the artist himself during the final developmental stage of his work and as a consequence were erased [painted over] [...]".[20]
  3. ^Scholars date the painting toc. 1489–1491:
  4. ^Martin Kempstates "the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure."[38]Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in 1900.[39]

References

[edit]
  1. ^abcdefghijklmZöllner 2019,p. 226.
  2. ^abOttino della Chiesa 1967,p. 101.
  3. ^Palmer 2018,p. 79.
  4. ^"Da Vinci's Lady with an Ermine among Poland's" Treasures "– Event – Culture.pl".Culture.pl.Ministry of Culture and National Heritage.Retrieved18 November2017.
  5. ^"Poland secures bargain deal for Leonardo da Vinci and other works".BBC News.29 December 2016.Retrieved8 December2022.
  6. ^Berendt, Joanna (29 December 2016)."Poland Buys Czartoryski Family Art Collection".New York Times.Retrieved22 December2019.
  7. ^"Leonardo da Vinci," Dama z gronostajem "".Muzeum Narodowe w Krakowie(in Polish). 2017.Retrieved26 May2017.
  8. ^"Dlaczego warto było zapłacić 100 mln euro za kolekcję z" Damą z gronostajem "".Forbes.pl(in Polish).Retrieved17 January2020.
  9. ^abcZöllner 2015,p. 45.
  10. ^abcdSyson et al. 2011,p. 113.
  11. ^Pedretti 2006,p. 64.
  12. ^abcdeSyson et al. 2011,p. 112.
  13. ^Isaacson 2017,p. 243.
  14. ^abcBull 1992a.
  15. ^Bull 1992,pp. 76ff.
  16. ^Bull 1992,p. 81.
  17. ^Marani 2003,p. 177.
  18. ^Isaacson 2017,p. 237.
  19. ^Zöllner 2019,p. 225.
  20. ^abcdefghiMarani 2003,p. 176.
  21. ^abClark 1961,p. 54.
  22. ^Kemp 2019,p. 49.
  23. ^Isaacson 2017,p. 241.
  24. ^Syson et al. 2011,p. 112–113.
  25. ^abIsaacson 2017,pp. 243–244.
  26. ^Palmer 2018,p. 121.
  27. ^Constantino 2001,p. 46.
  28. ^Xavier d’Hérouville & Aurore Caulier (2023)."Caterina Sforza, the lioness of Romagna, immortalized as the Lady with an Ermine by Leonardo da Vinci?".New York Times.
  29. ^Xavier d’Hérouville & Aurore Caulier (2023)."Milanese escape game:" The Great Work of the anonymous master of the Italian Renaissance "".
  30. ^abcKemp 2019,p. 50.
  31. ^abClark 1961,p. 56.
  32. ^abcMarani 2003,p. 170.
  33. ^Beck 1993,p. 188. Beck adds, "the artist left a pictorial record to accompany his written testimony—the famousPortrait of a Lady with an ermine(Czartoryski Collection, Cracow)
  34. ^Beck 1993,p. 191.
  35. ^Zöllner 2015,p. 20.
  36. ^Vezzosi 1997,p. 60.
  37. ^abSyson et al. 2011,p. 111.
  38. ^Kemp, Martin."The Lady with an Ermine".Circa 1492: Art in the Age of Exploration.Washington-New Haven-London. pp. 271f.
  39. ^abShell & Sironi 1992.
  40. ^Beard 2018,p. 26.
  41. ^Who was Cecilia Gallerani?Archived2018-10-01 at theWayback Machine,Barbara Fabjan andPietro C. Marani,Exhibition notes, October 15, 1998
  42. ^Francesca Bonazzoli and Michele Robecchi,Portraits Unmasked: The Stories Nehind the Faces,Prestel,Munich, 2020.ISBN9783791386201,pp. 10–13.
  43. ^Zöllner 2019,p. 158.
  44. ^Bull 1992,p. 78.
  45. ^Żygulski, Zdzisław (2009).Dzieje zbiorów Puławskich(in Polish). Poland: Fundacja Książąt Czartoryskich. p. 198.ISBN9788391525050.
  46. ^"The Archives; Photos".Monuments Men Foundation.Retrieved14 December2020.
  47. ^abcdMuchnic 2003.
  48. ^"Leonardo da Vinci" Lady with an Ermine "".Wawel Royal Castle.Archived fromthe originalon 7 July 2017.
  49. ^Stanford 2011.
  50. ^"Kraków reopens Czartoryski Museum".Thefirstnews.Retrieved17 January2020.

Sources

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Books
Journals and articles
Online

Further reading

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  • Fabjan, Barbara; Marani, Pietro C. (1998).Da Leonardo: La Dama con l'ermellino[From Leonardo: The Lady with an Ermine] (in Italian). Milan: Silvana.ISBN978-88-8215-100-3.
  • Collinsworth, Eden (2022).What the Ermine Saw: The Extraordinary Journey of Leonardo Da Vinci's Most Mysterious Portrait.New York: Doubleday Books.ISBN9780385546119.
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