The Virgin of the Rocks: Artists and Writers Responding to Leonardo c.1850-c.1930 The University of York in collaboration with the National Gallery, London, Friday 6 December 2019 Department of History of Art, University of York The National Gallery, London Supported by: YAHCs (York Art History Collaborations) Image: detail of The Virgin with the Infant Saint… This colloquium will explore the nineteenth- and early twentieth-century reception of Leonardo in general, and The Virgin of the Rocks in particular. Places are limited: please do book. The exhibition has been co-created with 59 Productions, which worked on the V&A’s David Bowie exhibition in 2013. Until 2010, the National Gallery believed it was mainly the work of assistants but, after restoring it, declared it possible that Leonardo painted all of the picture himself. Virgin and Child with St Anne and St John the Baptist (Burlington House Cartoon) The Last Supper.

How was the painting perceived by different spectators? It’s a bit like mindfulness in a way, as it slows things down and people can focus on one idea,” he added. She concludes: “It seems unlikely the same person could have portrayed rock formations so accurately in the Louvre work and so incongruously in the National Gallery one – especially considering Leonardo’s faithfulness to nature. Her conclusions are supported by John Grimshaw, a leading horticulturalist, who is struck by the realism of the Louvre painting, unlike the National Gallery version. Above the virgin’s head, there is no change in the rock texture to indicate a diabase sill. Virgin of the Rocks. Last modified on Thu 15 Aug 2019 12.28 BST. There are 10 student tickets available that include a free lunch. It’s inconceivable that … he could have bowdlerised his … understanding on a single painting.”. The museum’s ground-floor galleries will be transformed into a space that investigates the painting and there will be “multisensory experiences” in four rooms, including a chapel-like environment to recreate what its original setting may have looked like. Responding to this botanical analysis, he says: “If [the botany] is crazy in one but not in the other, we can draw some conclusions.” Nor does he believe that Leonardo would have painted two versions. Leonardo da Vinci, The Virgin of the Rocks, c. 1491-1508, oil on panel, 189.5 x 120 cm (The National Gallery, London). The Virgin and Child are usually … Above the virgin’s head, there is no change in the rock texture to indicate a diabase sill.

The Last Supper. ‘“Mountains in Miniature”: John Ruskin and Geology’ (20 minutes), 11:30: David Russell (Faculty of English, University of Oxford) “But the small print was more complicated.” Jones said that for a long time the gallery believed it was mostly the work of assistants, with possibly only the basic design recognisable as Leonardo’s. The artist – whoever that was – lacked both technique and appreciation for geology. “But the plants in the London version are inaccurate. The discovery comes as the gallery announces the an exhibition of Leonardo’s work as a painter, focusing exclusively on the Virgin of the Rocks, which originally stood as an altarpiece in a chapel devoted to the immaculate conception of Jesus’s mother, Mary. Fake flowers?

Ambiguous iconography. The National Gallery, London, Supported by:

Created by Beth Harris and Steven Zucker. Some don’t exist in nature, and others portray flowers with the wrong number of petals.”. as scientifically accurate as they are beautiful, National Gallery believed it was mainly the work of assistants. Experts say London version of painter’s Madonna masterpiece has fake flowers and ‘misses the point geologically’, Last modified on Thu 22 Feb 2018 12.30 EST. Detail of Virgin of the Rocks, the National Gallery, London.

The London Version. The Virgin of the Rocks in the National Gallery contains some details generally overlooked by the artist in the Louvre version, including the haloes of the figures, the child Saint John's cross of reeds. Pizzorusso draws on Grimshaw’s analysis in her latest research, published this month in her book, Tweeting da Vinci, which focuses on Leonardo’s geology, hydrology and water engineering. It … “You’re learning by seeing rather than reading a paper.”.

Photograph: The National Gallery, Detail of plants in Madonna of the Rocks, Louvre version. They’re not real flowers. Doubts have long been cast over whether the Renaissance master made the London painting. Five centuries on, scientists and art historians are trying to work out to what extent Leonardo had a hand in both versions of Virgin of the Rocks – the one in the Louvre, in Paris, and the replica in the National Gallery in London. She notes that the Louvre version positions plants where they would grow naturally: “At the top of the grotto, the sandstone would have decomposed sufficiently to allow roots to take hold.” No plants grow out of the diabase, because it’s too hard and resistant to erosion to allow growth. “It’s somewhere between an exhibition and an experience,” said Richard Slaney, the company’s managing director. This included the oil and varnish that was applied in 1949 being cleaned and the work being installed in a new frame that was constructed from fragments of a 16th-century original. 11:00-12.45 – Panel 1 – Chair: Caroline Campbell (National Gallery), 11.00: Louise Pullen (Curator of Ruskin Collection, Museums Sheffield)

Comparison of the two versions of The Virgin of the Rocks clearly shows the ambiguous iconography of the first, about which much has been written. In 2005 researchers discovered that the Virgin’s pose had been changed, and in 2008 its restoration started. ‘“The taste for what is bizarre and recherché in landscape”: Walter Pater on the Madonna of the Rocks’ (20 minutes), 1.50: Luke Uglow (Department of History of Art, University of York) Detail of plants in the London version of Virgin of the Rocks. Much-discussed Virgin of the Rocks to be centrepiece of National Gallery exhibition, Lanre Bakare Arts and culture correspondent, Wed 14 Aug 2019 16.19 BST

Leonardo da Vinci always impressed on his students the importance of depicting nature accurately. He says: “There’s a very recognisable iris, a Jacob’s Ladder, a nice little palm tree, all sorts of well-observed bits of vegetation there – and proper plants.”, The London painting features invented plants that bear no resemblance to reality. The Virgin with the Infant Saint John the Baptist adoring the Christ Child accompanied by an Angel (‘The Virgin of the Rocks’). In May this year, a sketch of a bearded man – found in among the Leonardo drawings contained in the Royal Collection – was identified as a work by the painter. Grimshaw, who serves on various committees of the Royal Horticultural Society and is director of the Yorkshire Arboretum at Castle Howard, calls the differences between the versions “surprising – if not shocking”. All rights reserved.

‘“Thronging it like echoes”: Our Lady of the Rocks and the Rossetti Circle’ (25 minutes), 3.45-5.15: Panel 3 – Chair: Jason Edwards (University of York), 3.45: Susanna Avery-Quash (National Gallery, London) “It’s very striking, because they go against everything that Leonardo’s always done in terms of his botanical art. ‘Leonardo’s Reputation in Britain: The Evidence from Prints, 1750-1850’ (30 minutes), 4.45 – 5.15: Discussion moving into Final Discussion. We look forward to discussing these and other responses and reactions to Leonardo and his Virgin of the Rocks.

The Virgin of the Rocks: Artists and Writers Responding to Leonardo c.1850-c.1930, Colloquium at the University of York: The Department of History of Art in collaboration with the National Gallery, London, 6 December 2019, Department of History of Art, University of York Sort by: Top Voted. Practice: The Last Supper. ‘“The dark avenue” and “things occult”: Rossetti, Pater, and Freud on Leonardo’ (30 minutes), 1.30-3.20: Panel 2 – Chair: Amanda Lillie (University of York), 1.30: Lene Østermark-Johansen (Department of English, Germanic and Romance Studies, University of Copenhagen) ‘Ruskin and Pater on the Rocks’ (20 minutes), 11.50: Hugh Haughton (Department of English, University of York)

Michelangelo.

Everyone talks about Leonardo da Vinci as the paradigm of the Renaissance Man. … the French painting is on the left and the British on the right. Virgin of the Rocks. How exactly did its reputation spread? “Handprints resulting from patting down the priming on the panel to create an even layer of more or less uniform thickness can also be seen, probably the work of an assistant – but perhaps even by Leonardo himself.”. In 2010, the Guardian art critic Jonathan Jones looked into the provenance of the painting. A team of six experts started using the latest imaging techniques on the composition in January, and because the drawings were made with material containing zinc, they could be seen in macro x-ray fluorescence (MA-XRF) maps, and with infrared and hyperspectral imaging – the same technology that was used by US Navy Seals to examine Osama bin Laden’s compound in Pakistan in 2011. ‘The Reception of Leonardo and Lombard Art at the National Gallery in the 19th Century’ (30 minutes), 4.15: David Alexander (Honorary Keeper of Prints, Fitzwilliam Museum, University of Cambridge)

Mona Lisa. Speakers will include Hugh Haughton on Rossetti’s sonnet; Susanna Avery-Quash on the National Gallery’s collecting; David Russell from Oxford and Lene Ostermark Johansen from Copenhagen on Pater’s essay; Luke Uglow on nineteenth-century connoisseurship, and Liz Prettejohn on artistic receptions of Leonardo. Previously incorrectly attributed only to Giampetrino. The Louvre version is a geological tour-de-force, she says, a complex landscape in which each rock formation can be identified: “To the right of the virgin’s head is weathered sandstone, and above it is a contact surface with a strata of diabase and above that is spheroidal sandstone.” In the London version, she says, the rocks are unrealistic. They’re odd concoctions, like a half-imagined aquilegia. Adoration of the Magi. The Virgin of the Rocks demonstrates Leonardo's revolutionary technique of using shadows, rather than outlines, to model his figures. Michael Daley, director of watchdog ArtWatch UK, describes this latest evidence as “the nail in the coffin of the attribution to Leonardo”, adding: “Leonardo’s raison d’être was understanding and describing nature. “Since it was bought by the National Gallery in 1880, the Virgin of the Rocks has been exhibited as a ‘Leonardo’,” he wrote. The National Gallery, which is hosting an “immersive exploration” of the artist’s work, found the unfinished earlier version after conducting scientific research into the Virgin of the Rocks. There is absolutely nothing in his body of work that is not true to nature. “It is a very quick casual sketch of Leonardo; it is the closest that we get to a snapshot of Leonardo during his own lifetime,” said Martin Clayton, head of prints and drawings at the Royal Collection Trust.

In the French painting, he can easily identify iris, polemonium and aquilegia. A copyist, he believes, would be less concerned about accuracy. The colloquium is being held in conjunction with the National Gallery Exhibition Leonardo: Experience a Masterpiece (ends 26 January 2020). Recently the subject of a new book (2017) and attributed to Leonardo and workshop by Professor Carlo Pedretti. An object of fascination and enquiry from the time Mary Lamb first named the picture The Virgin of the Rocks in 1805, we will be tracking down poems, drawings, paintings, essays, treatises and other traces left by the painting.

The National Gallery declined to comment on the new study, and pointed to its published research, which acknowledges previous doubts that Leonardo was solely responsible for the London version. Tickets can be booked on Eventbrite. Next lesson. “Both figures are positioned higher up in the drawing, while the angel, facing out, is looking down on the infant Christ with what appears to be a much tighter embrace,” the National Gallery spokesperson added. Renaissance scholar Charles Hope is among those who have previously questioned the attribution of the London version. Attendance at the Colloquium is free – and we hope you will choose to join us for lunch, which can be booked and paid for when booking a place.

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