Andrea Verrocchio and His Followers: An Exhibition

2019 ◽  
Vol 68 (4) ◽  
pp. 8-15
Author(s):  
Gordon Alt
Keyword(s):  
Fourteenth Century ◽  
Da Vinci ◽  
Full Range ◽  
Leonardo Da Vinci ◽  
Washington Dc ◽  
National Gallery ◽  
Sandro Botticelli ◽  
Pietro Perugino ◽  
National Gallery Of Art

Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of the masterpieces included in this important exhibition, which covers a full range of his contributions and will remain on view until January 12, 2020. This is the only opportunity to see this powerful collection in this country as it returns immediately to Italy.

The Discovery of a Masterpiece

2019 ◽  
pp. 5-50
Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon
Keyword(s):  
New Orleans ◽  
Da Vinci ◽  
Research Process ◽  
Leonardo Da Vinci ◽  
First Person ◽  
National Gallery ◽  
The Public ◽  
The Press ◽  
Person Account

Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.

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