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305:(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), and fingerprints (the face and animal's head), the latter of which are particularly common in Leonardo's paintings. It is made from a single piece of walnut wood; Leonardo recommended, and favored walnut wood, though it was not commonly used by other artists in
438:, was the first to propose that Cecilia was poised as if listening to an unseen speaker. 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
536:
in
Italian. 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
488:
in 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." He repeats this idea in another note, "Moderation curbs all the vices. The ermine prefers to die
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eleven years previously. 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
433:
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. The three-quarter profile portrait was one of his many innovations. Il Moro's
476:
notes that "Naturalism is not the point here; Leonardo has created a mythical beast, the composite of several animals he drew at this time". There are several interpretations of the ermine's significance and they are often used in combination with each other. In its winter coat, the ermine was a
417:
on 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. Her right shoulder shows an ornately embroidered gold band over a
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668:, was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The
430:, 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.
764:
in 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).
623:. 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. She was married at approximately age six to a young nobleman of the house of
493:
in
Cambridge, depicts an ermine representing these ideals by surrendering to a hunter. 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 by
382:
noted 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".
916:
states "the identification of the sitter in this painting as
Cecilia Gallerani is reasonably secure." Janice Shell and Grazioso Sironi discuss the career of this identification since it was first suggested in
275:. It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. The animal in her arms twists in a similar manner, resulting in considerable
342:". Such an evaluation is relatively recent, however, as the work was previously considered to be considerably damaged and repainted. Promotion of such an analysis largely began with the art historian
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600:
To some extent the painting includes traditional characteristics of
Italian portraiture from the 1430s and 1440s; the coloring, for example, is particularly reminiscent of the Florentine
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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 ".
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366:
was responsible for the overpaint in the background and elsewhere. The background was also subject to the misconception that it originally included a window. It was proposed by
752:. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in
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3030:
693:
in 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 at
3278:
472:. Commentators have noted that it is too large to be an actual ermine, but its size is explained by its being of a largely symbolic nature. The art historian
445:, the lioness of Romagna, is proposed as being the model of this allegorical representation in which the mental strength and beauty that were attributed to
374:
at Warsaw Laboratories, and explained certain spots in the right background as being remnants of a window. Such a conclusion has been disproven by Bull,
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the 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 to
502:
in 1488. Alternatively, the ermine could be a pun on Cecilia's surname: The Ancient Greek term for ermine, or other weasel-like species of animals, is
2302:
362:
in the top left corner was probably also added at this time. There is also slight overpainting in the mouth and nose; some art historians suggest
2745:
2627:
354:
led by David Bull has confirmed that the damage was limited to the background. Specifically, the background was likely originally a bluish-grey,
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2080:
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The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the
744:, 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 the
3431:
674:
is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.
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3299:
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2598:
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309:. The wood is thin (about 4–5 millimetres (0.16–0.20 in)) and is most likely from the same tree as the wood for his later portrait,
1883:
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522:). Such allusions were particularly popular in Renaissance culture; Leonardo himself had done something similar in his earlier work,
1054:
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In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the
346:, who asserted in 1961 that the entire left side of the figure, as well as the background had been repainted. Scholars such as
180:
at the time of its execution. It is the second of only four surviving portraits of women painted by Leonardo, the others being
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2500:
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2146:
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2017:
1995:
1970:
1947:
1921:
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remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince
224:
100 million (5% of the estimated market value of the entire collection) on 29 December 2016 to the Polish government by
2603:
2593:
781:
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A recent study brings to the forefront and supports another so far little-followed hypothesis: the heroic character of
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1893:
1825:
1686:
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367:
772:, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.
644:
It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the
612:
The sitter has been identified with reasonable certainty as Cecilia Gallerani, the mistress of Leonardo's employer,
3023:
2902:
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1001:
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and others. In light of this revision—with the primary damage being overpaint in the background—the art historian
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371:
3304:
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3137:
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225:
1780:
1410:"Caterina Sforza, the lioness of Romagna, immortalized as the Lady with an Ermine by Leonardo da Vinci ?"
718:
2409:
350:, Angela Ottino della Chiesa and Jack Wasserman advanced the idea; however, a 1992 technical analysis at the
1493:, p. 188. Beck adds, "the artist left a pictorial record to accompany his written testimony—the famous
50:
3076:
3009:
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706:
499:
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3190:
2459:
2297:
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1931:
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913:
681:"Monuments Men" – Frank P. Albright, Everett Parker Lesley, Joe D. Espinosa – and Polish liaison officer
379:
3384:
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3127:
2798:
2707:
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2187:
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769:
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Brambilla, also known as Il Bergamino. The newly-wed couple was moved to Palazzo Carmagnola in Milan.
3210:
2965:
2737:
2729:
2721:
682:
2242:
Bull, David (1992). "Two Portraits by Leonardo: "Ginevra de' Benci" and the "Lady with an Ermine"".
2635:
299:, though certain areas of the lady's skin are more layered. Also present are the subtle remains of
2085:
481:
of purity and moderation, as it was believed it would face death rather than soil its white coat.
422:
dress. Again, Leonardo has simplified the design, by having the left shoulder band covered by the
3451:
3441:
3200:
3172:
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2620:
2389:
2313:
1987:
1983:
Leonardo da Vinci: A Reference Guide to His Life and Works (Significant Figures in World History)
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was widely accepted by scholars to be a work of Leonardo. The attribution is due to the style of
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237:
2700:
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311:
188:
3132:
3087:
2685:
325:
229:
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2512:
What the Ermine Saw: The Extraordinary Journey of Leonardo Da Vinci's Most Mysterious Portrait
670:
2346:
Shell, Janice; Sironi, Grazioso (1992). "Cecilia Gallerani: Leonardo's Lady with an Ermine".
2052:; Keith, Larry; Galansino, Arturo; Mazzotta, Antoni; Nethersole, Scott; Rumberg, Per (2011).
1817:
30-Second Great Art; From Masaccio to Matisse, 50 Artworks That Changed the Way We See Things
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2192:
1429:"Milanese escape game: "The Great Work of the anonymous master of the Italian Renaissance""
524:
461:
435:
412:
408:
257:
182:
713:, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During
399:. She looks to her left at something out of frame, toward the light, where the biographer
8:
3330:
3157:
3142:
2848:
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1939:
1913:
653:
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rather than soil itself." A drawing by Leonardo in pen and ink of c. 1490, housed at the
283:
233:
138:
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363:
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2209:
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761:
632:
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217:
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114:
2440:"Will The Lady with an Ermine topple the Mona Lisa as the world's favourite painting?"
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3152:
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2582:
2515:
2496:
2414:
2325:
2164:
2142:
2116:
2093:
2061:
2035:
2013:
1991:
1966:
1943:
1917:
1889:
1868:
1847:
1821:
1682:
1634:
690:
624:
620:
411:, her 'Spanish style' dress would have been particularly fashionable. She has a silk
392:
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insists the work is in "very good condition... similar to the equally well preserved
165:
142:
134:
96:
61:
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2355:
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2201:
2088:. Translated by Bonfante-Warren, Alexandra (English translation ed.). London:
2057:
1613:
1027:
813:
805:
426:, so as to not take away from the animal's detailed head. Her coiffure, known as a
375:
29:
2156:
2130:
1754:
698:
333:
3398:
3230:
3195:
3167:
3081:
2714:
2405:
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1981:
1962:
1907:
1903:
1815:
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697:. Soon after, it was transferred to the Czartoryski place of exile in Paris, the
613:
442:
400:
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1702:
1002:"Da Vinci's Lady with an Ermine among Poland's "Treasures" – Event – Culture.pl"
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2027:
2005:
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173:
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1428:
1409:
1350:
1106:"Dlaczego warto było zapłacić 100 mln euro za kolekcję z "Damą z gronostajem""
3420:
3245:
3104:
3061:
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2888:
2670:
1864:
1843:
1835:
1541:
1539:
1183:
1181:
1179:
1177:
1175:
1150:
1148:
1146:
1144:
710:
343:
292:
760:, and was returned to Poland in 1946. It was again placed on exhibit at the
3220:
3205:
3182:
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601:
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with the lady, a technique Leonardo explored earlier with the angel in the
277:
265:
253:
153:
79:
2221:
Brown, David Alan (1983). "Leonardo and the Idealized Portrait in Milan".
1851:
1536:
1172:
1141:
2386:"Leonardo: Lady with an Ermine: Preservation and scientific examinations"
714:
550:
2289:
2234:
1426:
1407:
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3117:
2367:
2263:
2213:
2049:
753:
748:. In 1941, it was transferred to a warehouse of other plundered art in
741:
473:
106:
54 cm × 39 cm (21 in × 15 in)
2274:(February 1985). "Leonardo da Vinci: Science and the Poetic Impulse".
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Gallerani was a member of a large family that was neither wealthy nor
269:
161:
83:
2752:
628:
355:
338:
194:
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2359:
2255:
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972:
970:
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661:
209:
118:
1028:"Poland secures bargain deal for Leonardo da Vinci and other works"
694:
485:
306:
301:
3240:
1681:(in Polish). Poland: Fundacja Książąt Czartoryskich. p. 198.
689:
The painting travelled widely during the 19th century. During the
589:
2138:
1630:
967:
757:
722:
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in 1800. The inscription on the top-left corner of the painting,
553:, intricate detail and "contemplative tone" typical of Leonardo.
529:
446:
2989:
The Virgin and Child with Saint Anne and Saint John the Baptist
737:
729:
685:
pose with the painting upon its return to Poland in April 1946.
478:
419:
213:
3405:
3279:
Museo Nazionale Scienza e Tecnologia Leonardo da Vinci (Milan)
1367:
1365:
660:, and incorporated into the Czartoryski family collections at
3162:
517:
507:
469:
391:
The subject has been identified with reasonable certainty as
288:
177:
468:
The animal resting in Cecilia's arms is usually known as an
332:
Though there are a few areas of minor damage, art historian
2048:
1545:
1362:
1356:
1187:
1154:
887:
221:
2464:"Portrait of Cecilia Gallerani (The Lady with the Ermine)"
1574:
1572:
576:). Specifically, scholars date the painting to 1489–1491.
329:, due to the three paintings including black backgrounds.
1389:
957:
955:
953:
240:, who brought the painting to Poland from Italy in 1798.
2792:
Madonna and Child with the Infant Saint John the Baptist
1474:
1472:
1470:
1301:
1299:
1297:
1295:
1293:
1291:
1289:
1287:
1285:
1131:
1129:
1127:
951:
949:
947:
945:
943:
941:
939:
937:
935:
933:
1569:
1338:
1258:
1193:
2161:
Leonardo da Vinci: The Complete Paintings and Drawings
1729:
1727:
1725:
1723:
1644:
1457:
1455:
1316:
1314:
1270:
1160:
358:
with black during the mid-18th century. The signature
295:. In general, the paint is evenly applied akin to the
3382:
1524:
1512:
1467:
1442:
1440:
1438:
1377:
1282:
1246:
1124:
930:
701:. The family returned to Poland in 1869, settling in
596:(c. 1490), a pen and ink drawing by Leonardo da Vinci
1761:
1222:
1212:
1210:
1208:
268:
on a relatively small, 54 × 39 cm (21 × 15 in)
1858:
1720:
1584:
1500:
1452:
1311:
982:
976:
2301:
1656:
1435:
1326:
1234:
1427:Xavier d’Hérouville & Aurore Caulier (2023).
1408:Xavier d’Hérouville & Aurore Caulier (2023).
1205:
3437:Art and cultural repatriation after World War II
3418:
2054:Leonardo da Vinci: Painter at the Court of Milan
1627:Portraits Unmasked: The Stories Nehind the Faces
403:suggests Ludovico is. Following the marriage of
395:, the mistress of Leonardo's Milanese employer,
1055:"Poland Buys Czartoryski Family Art Collection"
725:for safe-keeping, returning to Kraków in 1920.
176:; Leonardo was painter to the Sforza court in
2776:
2567:
1565:. Washington-New Haven-London. pp. 271f.
287:. The work is prepared with a layer of white
2931:Designs for an Adoration of the Christ Child
2509:
2486:
2487:Fabjan, Barbara; Marani, Pietro C. (1998).
2345:
1881:
1861:The Complete Paintings of Leonardo da Vinci
1578:
1395:
1008:. Ministry of Culture and National Heritage
545:It was not until the 20th century that the
2574:
2560:
2190:(1993). "The Dream of Leonardo da Vinci".
2163:(Anniversary ed.). Cologne: Taschen.
1625:Francesca Bonazzoli and Michele Robecchi,
49:
2945:Head of the Infant Saint John the Baptist
2322:10.1093/gao/9781884446054.article.T050401
2106:
2010:Leonardo, a study in chronology and style
1959:Leonardo da Vinci: The Complete Paintings
1863:. Penguin Classics of World Art. London:
1747:"Leonardo da Vinci "Lady with an Ermine""
1563:Circa 1492: Art in the Age of Exploration
1080:"Leonardo da Vinci, "Dama z gronostajem""
2466:. London: University of the Arts, London
2434:
2026:
2004:
1902:
1767:
1674:
1371:
1344:
1264:
1199:
1166:
676:
588:
456:
252:
16:Painting by Leonardo da Vinci, 1489–1491
2457:
2404:
2155:
2129:
2074:
1733:
1650:
1530:
1518:
1276:
1135:
1052:
961:
899:
800:The work is most commonly known as the
3419:
2493:From Leonardo: The Lady with an Ermine
1979:
1956:
1478:
1383:
1305:
1252:
988:
881:
216:national treasures. It is part of the
2581:
2555:
2383:
2220:
1936:Leonardo da Vinci: The 100 Milestones
1834:
1813:
1590:
1461:
1320:
1216:
812:
705:. In the tumultuous aftermath of the
584:
3432:Collection of the Czartoryski Museum
2746:The Virgin and Child with Saint Anne
2495:] (in Italian). Milan: Silvana.
2489:Da Leonardo: La Dama con l'ermellino
2296:
2277:Journal of the Royal Society of Arts
2270:
2241:
2186:
1930:
1859:Ottino della Chiesa, Angela (1967).
1662:
1616:, Exhibition notes, October 15, 1998
1506:
1490:
1446:
1332:
1240:
1228:
1053:Berendt, Joanna (29 December 2016).
869:
853:
565:can securely be dated to Leonardo's
528:, when he surrounded Ginevra with a
484:In his old age, Leonardo compiled a
405:Isabella of Aragon, Duchess of Milan
2034:. Surrey: Taj Books International.
2012:. Cambridge: Johnson Reprint Corp.
1781:"Kraków reopens Czartoryski Museum"
666:LA BELE FERONIERE. LEONARD DAWINCI.
13:
2480:
2422:from the original on 30 March 2019
2081:Leonardo da Vinci: Renaissance Man
1420:
1401:
782:List of works by Leonardo da Vinci
14:
3473:
3462:Looting of Poland in World War II
3017:Drapery of the Virgin's Right Arm
2529:
1495:Portrait of a Lady with an ermine
3404:
3392:
3367:
3366:
2903:Studies of the Fetus in the Womb
2882:The Martyrdom of Saint Sebastian
2868:Study for the Madonna of the Cat
2410:"An intriguing tale of survival"
1557:
1497:(Czartoryski Collection, Cracow)
825:). It is sometimes known as the
717:, the painting was moved to the
323:, as well as Leonardo's earlier
232:, the last direct descendant of
2388:. Art Galleries. Archived from
1773:
1739:
1695:
1668:
1619:
1596:
1551:
1484:
907:
844:
814:[ˈdaːmakonlermelˈliːno]
3427:Paintings by Leonardo da Vinci
3321:replicas and reinterpretations
3267:Museo Ideale Leonardo da Vinci
2910:Portrait of a Man in Red Chalk
2664:Saint Jerome in the Wilderness
1098:
1072:
1046:
1020:
994:
859:Scholars date the painting to
794:
540:
248:
243:
226:Princes Czartoryski Foundation
218:Princes Czartoryski Collection
1:
2514:. New York: Doubleday Books.
1561:. "The Lady with an Ermine".
924:
891:
873:
860:
827:Portrait of Cecilia Gallerani
607:
579:
570:
452:
146:
3310:Conservation-restoration of
3077:Codex on the Flight of Birds
3010:Drapery of the Virgin's Legs
2636:The Madonna of the Carnation
2339:UK public library membership
1980:Palmer, Allison Lee (2018).
831:Portrait of an Unknown Woman
654:Izabela Czartoryska Flemming
234:Izabela Czartoryska Flemming
7:
3236:Giovanni Ambrogio de Predis
3191:Giovanni Antonio Boltraffio
2896:Portrait of Isabella d'Este
2510:Collinsworth, Eden (2022).
1957:Marani, Pietro C. (2003) .
1882:Constantino, Maria (2001).
1675:Żygulski, Zdzisław (2009).
775:
719:Gemäldegalerie Alte Meister
386:
10:
3478:
3262:Museo leonardiano di Vinci
2799:The Holy Infants Embracing
1801:
1603:Who was Cecilia Gallerani?
1084:Muzeum Narodowe w Krakowie
707:German occupation of Paris
658:Adam Kazimierz Czartoryski
639:
518:
508:
3361:✻✻ Possible collaboration
3354:
3287:
3254:
3211:Giovanni Agostino da Lodi
3181:
3097:
3044:
2975:
2954:
2919:
2859:
2826:
2657:The Adoration of the Magi
2612:
2589:
2539:, National Museum, Kraków
2137:(2nd ed.). Cologne:
1678:Dzieje zbiorów Puławskich
902:, p. 226): 1489/1490
884:, p. 339): 1489–1490
556:
152:, the work is painted in
110:
102:
92:
75:
67:
57:
48:
28:
23:
2107:Wasserman, Jack (1975).
1988:Rowman & Littlefield
1707:Monuments Men Foundation
977:Ottino della Chiesa 1967
787:
291:and a layer of brownish
2314:Oxford University Press
1579:Shell & Sironi 1992
770:National Museum, Kraków
734:Kaiser Friedrich Museum
650:Adam George Czartoryski
352:National Gallery of Art
238:Adam George Czartoryski
3447:15th-century portraits
3088:A Treatise on Painting
2806:The Battle of Anghiari
2767:Saint John the Baptist
2686:Portrait of a Musician
2599:Science and inventions
1703:"The Archives; Photos"
822:
809:
686:
597:
465:
326:Portrait of a Musician
261:
230:Adam Karol Czartoryski
3305:Portraits of Leonardo
2980:Child with Saint Anne
2628:The Baptism of Christ
2384:Bull, David (1992a).
2180:Journals and articles
1612:, Barbara Fabjan and
680:
592:
567:first Milanese period
460:
368:Kazimierz Kwiatkowski
319:is also connected to
256:
220:, which was sold for
204:is now housed at the
3201:Bernardino de' Conti
2701:La Belle Ferronnière
2547:, Universal Leonardo
2438:(12 November 2011).
2348:Artibus et Historiae
2244:Artibus et Historiae
2193:Artibus et Historiae
1914:Simon & Schuster
810:Dama con l'ermellino
436:Bernardo Bellincioni
409:Gian Galeazzo Sforza
321:La Belle Ferronnière
312:La Belle Ferronnière
189:La Belle Ferronnière
34:Dama con l'ermellino
3346:(Galleria Borghese)
3331:Mathematics and art
3295:Cultural references
3158:Rapid fire crossbow
3148:Self-propelled cart
2922:Virgin of the Rocks
2694:Lady with an Ermine
2679:Virgin of the Rocks
2545:Lady with an Ermine
2537:Lady with an Ermine
2303:"Leonardo da Vinci"
2090:Thames & Hudson
2076:Vezzosi, Alessandro
1814:Beard, Lee (2018).
1374:, pp. 243–244.
802:Lady with an Ermine
646:Lady with an Ermine
563:Lady with an Ermine
547:Lady with an Ermine
500:Order of the Ermine
498:as a member of the
317:Lady with an Ermine
284:Virgin of the Rocks
202:Lady with an Ermine
139:Italian Renaissance
130:Lady with an Ermine
24:Lady with an Ermine
3457:Portraits of women
3111:Divina proportione
3067:Codex Trivulzianus
3031:Head of the Virgin
3024:Head of Saint Anne
1751:Wawel Royal Castle
1608:2018-10-01 at the
1359:, p. 112–113.
1034:. 29 December 2016
888:Syson et al. (2011
839:Lady with a Marten
835:Lady with a Ferret
823:Dama z gronostajem
762:Czartoryski Museum
687:
598:
585:Historical context
537:illegitimate son.
491:Fitzwilliam Museum
466:
262:
260:of the lady's head
206:Czartoryski Museum
164:. Its subject is
115:Czartoryski Museum
43:Dama z gronostajem
3380:
3379:
3344:Leda and the Swan
3337:The Lost Leonardo
3153:Octant projection
3123:Harpsichord-viola
3040:
3039:
2938:Head of the Angel
2822:
2821:
2813:Leda and the Swan
2738:Lansdowne Madonna
2722:Buccleuch Madonna
2643:Ginevra de' Benci
2583:Leonardo da Vinci
2502:978-88-8215-100-3
2458:Wallace, Marina;
2415:Los Angeles Times
2392:on 1 October 2018
2337:(subscription or
2284:(5343): 196–214.
2170:978-3-8365-7625-3
2148:978-3-8365-0215-3
2122:978-0-8109-0262-6
2109:Leonardo da Vinci
2099:978-0-500-30081-7
2067:978-1-85709-491-6
2041:978-1-8440-6036-8
2032:Leonardo da Vinci
2019:978-0-3844-5281-7
1997:978-1-5381-1977-8
1972:978-0-8109-3581-5
1949:978-1-4549-304-26
1923:978-1-5011-3915-4
1909:Leonardo da Vinci
1874:978-0-14-008649-2
1842:. Harmondsworth:
1840:Leonardo da Vinci
1546:Syson et al. 2011
1357:Syson et al. 2011
1188:Syson et al. 2011
1155:Syson et al. 2011
1086:(in Polish). 2017
691:November Uprising
667:
525:Ginevra de' Benci
393:Cecilia Gallerani
361:
264:The painting was
228:, represented by
183:Ginevra de' Benci
166:Cecilia Gallerani
143:Leonardo da Vinci
135:portrait painting
125:
124:
97:Cecilia Gallerani
62:Leonardo da Vinci
3469:
3409:
3408:
3397:
3396:
3395:
3388:
3370:
3369:
3326:High Renaissance
3274:Leonardo3 Museum
3216:Bernardino Luini
3138:Fighting vehicle
3052:Codex Atlanticus
2992:(London cartoon)
2976:Relating to the
2955:Studies for the
2920:Studies for the
2917:
2916:
2774:
2773:
2621:The Annunciation
2576:
2569:
2562:
2553:
2552:
2525:
2506:
2475:
2473:
2471:
2454:
2452:
2450:
2431:
2429:
2427:
2408:(1 April 2003).
2406:Muchnic, Suzanne
2401:
2399:
2397:
2371:
2342:
2335:
2309:Grove Art Online
2305:
2293:
2267:
2238:
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2174:
2152:
2126:
2103:
2071:
2058:National Gallery
2045:
2023:
2001:
1976:
1953:
1927:
1904:Isaacson, Walter
1899:
1878:
1855:
1831:
1796:
1795:
1793:
1791:
1785:Thefirstnews.com
1777:
1771:
1765:
1759:
1758:
1753:. Archived from
1743:
1737:
1731:
1718:
1717:
1715:
1713:
1699:
1693:
1692:
1672:
1666:
1660:
1654:
1648:
1642:
1633:, Munich, 2020.
1623:
1617:
1614:Pietro C. Marani
1600:
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1231:, pp. 76ff.
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895: 1489–1490
893:
890:, p. 111):
878:
875:
865:
864: 1489–1491
862:
857:
851:
848:
842:
816:
798:
732:and sent to the
709:in 1871 and the
683:Karol Estreicher
671:Belle Ferronière
665:
575:
574: 1482–1499
572:
521:
520:
511:
510:
376:Pietro C. Marani
364:Eugène Delacroix
360:LEONARD D'AWINCI
359:
266:executed in oils
212:, and is one of
168:, a mistress of
151:
150: 1489–1491
148:
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21:
20:
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3393:
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3383:
3381:
3376:
3358:✻ Collaboration
3350:
3312:The Last Supper
3283:
3250:
3231:Francesco Melzi
3226:Marco d'Oggiono
3196:Cesare da Sesto
3177:
3168:Viola organista
3114:(illustrations)
3093:
3082:Codex Leicester
3036:
2979:
2971:
2950:
2915:
2855:
2842:Horse and Rider
2818:
2772:
2715:Sala delle Asse
2708:The Last Supper
2608:
2585:
2580:
2532:
2522:
2503:
2483:
2481:Further reading
2478:
2469:
2467:
2448:
2446:
2436:Stanford, Peter
2425:
2423:
2418:. Los Angeles.
2395:
2393:
2374:
2360:10.2307/1483456
2336:
2332:
2256:10.2307/1483457
2206:10.2307/1483451
2200:(27): 185–198.
2177:
2171:
2149:
2123:
2113:Harry N. Abrams
2100:
2068:
2042:
2028:Pedretti, Carlo
2020:
2006:Pedretti, Carlo
1998:
1973:
1963:Harry N. Abrams
1950:
1924:
1896:
1875:
1828:
1804:
1799:
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1787:
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1766:
1762:
1757:on 7 July 2017.
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449:in mythology.
443:Caterina Sforza
401:Walter Isaacson
397:Ludovico Sforza
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2229:(4): 102–116.
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2354:(25): 47–66.
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2250:(25): 67–83.
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2223:Arte Lombarda
2219:
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2015:
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1933:
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1911:
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1897:
1895:9781856486163
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1865:Penguin Books
1862:
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1849:
1845:
1844:Penguin Books
1841:
1837:
1833:
1829:
1827:9781782405528
1823:
1820:. Ivy Press.
1819:
1818:
1812:
1811:
1806:
1805:
1786:
1782:
1776:
1769:
1768:Stanford 2011
1764:
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1698:
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1688:9788391525050
1684:
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1664:
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1639:9783791386201
1636:
1632:
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1593:, p. 26.
1592:
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1564:
1560:
1554:
1547:
1542:
1540:
1533:, p. 60.
1532:
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1520:
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1496:
1492:
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1480:
1475:
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1471:
1464:, p. 56.
1463:
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1456:
1449:, p. 50.
1448:
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1423:
1415:
1411:
1404:
1398:, p. 46.
1397:
1392:
1385:
1380:
1373:
1372:Isaacson 2017
1368:
1366:
1358:
1353:
1346:
1345:Isaacson 2017
1341:
1335:, p. 49.
1334:
1329:
1323:, p. 54.
1322:
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1307:
1302:
1300:
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1273:
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1265:Isaacson 2017
1261:
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1242:
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1218:
1213:
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1209:
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1200:Isaacson 2017
1196:
1189:
1184:
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1180:
1178:
1176:
1169:, p. 64.
1168:
1167:Pedretti 2006
1163:
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1147:
1145:
1138:, p. 45.
1137:
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1049:
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997:
991:, p. 79.
990:
985:
978:
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948:
946:
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936:
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929:
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900:Zöllner (2019
898:
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883:
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651:
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372:X-ray testing
369:
365:
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344:Kenneth Clark
341:
340:
335:
334:Frank Zöllner
330:
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172:("Il Moro"),
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27:
22:
19:
3343:
3335:
3318:
3311:
3221:Cesare Magni
3206:Giampietrino
3183:Leonardeschi
3128:Aerial screw
3109:
3086:
3072:Codex Madrid
3029:
3022:
3015:
3008:
3003:Christ Child
3001:
2987:
2977:
2964:
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2943:
2936:
2929:
2921:
2908:
2901:
2894:
2887:
2880:
2873:
2866:
2852:(unexecuted)
2849:Sforza Horse
2847:
2840:
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2811:
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2797:
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2765:
2758:
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2619:
2544:
2536:
2511:
2492:
2488:
2468:. Retrieved
2460:Kemp, Martin
2447:. Retrieved
2424:. Retrieved
2413:
2394:. Retrieved
2390:the original
2351:
2347:
2307:
2298:Kemp, Martin
2281:
2275:
2272:Kemp, Martin
2247:
2243:
2226:
2222:
2197:
2191:
2160:
2134:
2111:. New York:
2108:
2086:New Horizons
2079:
2053:
2031:
2009:
1982:
1961:. New York:
1958:
1938:. New York:
1935:
1932:Kemp, Martin
1912:. New York:
1908:
1884:
1860:
1839:
1816:
1788:. Retrieved
1784:
1775:
1763:
1755:the original
1750:
1741:
1734:Muchnic 2003
1710:. Retrieved
1706:
1697:
1677:
1670:
1658:
1651:Zöllner 2019
1646:
1641:, pp. 10–13.
1626:
1621:
1598:
1586:
1562:
1559:Kemp, Martin
1553:
1531:Vezzosi 1997
1526:
1519:Zöllner 2015
1514:
1502:
1494:
1486:
1422:
1413:
1403:
1391:
1379:
1352:
1340:
1328:
1277:Zöllner 2019
1272:
1260:
1248:
1236:
1224:
1195:
1162:
1136:Zöllner 2015
1114:. Retrieved
1109:
1100:
1088:. Retrieved
1083:
1074:
1062:. Retrieved
1058:
1048:
1036:. Retrieved
1031:
1022:
1010:. Retrieved
1005:
996:
984:
962:Zöllner 2019
909:
882:Marani (2003
855:
846:
838:
834:
830:
826:
801:
796:
767:
746:Wawel Castle
727:
688:
669:
645:
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618:
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602:quattrocento
599:
593:
562:
560:
546:
544:
533:
530:juniper tree
523:
513:
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483:
477:traditional
467:
440:
434:court poet,
432:
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337:
331:
324:
320:
316:
310:
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278:contrapposto
276:
263:
201:
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129:
128:
126:
42:
33:
18:
3411:Visual arts
3045:Manuscripts
2957:Last Supper
2396:12 February
2188:Beck, James
2050:Syson, Luke
1712:14 December
1479:Marani 2003
1384:Palmer 2018
1306:Marani 2003
1253:Marani 2003
1112:(in Polish)
1064:22 December
1012:18 November
989:Palmer 2018
914:Martin Kemp
877: 1491
870:Kemp (2019)
740:. In 1940,
715:World War I
656:and Prince
604:tradition.
551:chiaroscuro
541:Attribution
496:Ferdinand I
380:Martin Kemp
356:overpainted
270:walnut wood
249:Composition
244:Description
162:walnut wood
145:. Dated to
3421:Categories
3118:Great Kite
2978:Virgin and
2827:Sculptures
2442:. London:
2312:. Oxford:
2056:. London:
1986:. Lanham:
1790:17 January
1591:Beard 2018
1462:Clark 1961
1321:Clark 1961
1217:Bull 1992a
1116:17 January
1038:8 December
1006:Culture.pl
925:References
754:Schliersee
742:Hans Frank
608:Commission
580:Background
474:Luke Syson
453:The ermine
293:underpaint
103:Dimensions
3319:Mona Lisa
3300:Namesakes
3173:World Map
2753:Mona Lisa
2613:Paintings
2341:required)
2159:(2019) .
1663:Bull 1992
1507:Beck 1993
1491:Beck 1993
1447:Kemp 2019
1333:Kemp 2019
1241:Bull 1992
1229:Bull 1992
1110:Forbes.pl
837:, or the
339:Mona Lisa
297:Mona Lisa
195:Mona Lisa
71:1489–1491
3399:Painting
3372:Category
3133:Crossbow
2470:22 March
2420:Archived
2300:(2003).
2290:41373924
2235:43105426
2135:Leonardo
2133:(2015).
2078:(1997).
2030:(2006).
2008:(1982).
1940:Sterling
1934:(2019).
1906:(2017).
1885:Leonardo
1838:(1961).
1606:Archived
1032:BBC News
776:See also
695:Sieniawa
625:Visconti
486:bestiary
428:coazzone
387:The Lady
307:Lombardy
302:spolvero
214:Poland's
192:and the
121:, Poland
111:Location
3385:Portals
3288:Related
3255:Museums
2449:13 July
2426:13 July
2368:1483456
2264:1483457
2214:1483451
2139:Taschen
1888:. PRC.
1802:Sources
1631:Prestel
806:Italian
758:Bavaria
750:Breslau
723:Dresden
711:Commune
640:History
534:ginepro
447:Amazons
424:sbernia
414:sbernia
141:artist
137:by the
93:Subject
30:Italian
2998:(lost)
2785:Medusa
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1090:26 May
833:, the
829:, the
819:Polish
738:Berlin
703:Kraków
662:Puławy
557:Dating
479:symbol
470:ermine
462:Detail
420:velvet
315:. The
258:Detail
210:Kraków
119:Kraków
84:walnut
76:Medium
58:Artist
39:Polish
3241:Salaì
3163:Sonar
3143:Robot
2491:[
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2286:JSTOR
2260:JSTOR
2231:JSTOR
2210:JSTOR
1807:Books
917:1900.
788:Notes
730:Nazis
629:annul
621:noble
532:, or
519:γαλέη
514:galéē
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289:gesso
273:panel
178:Milan
158:panel
156:on a
133:is a
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2516:ISBN
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2472:2020
2451:2020
2428:2020
2398:2009
2326:ISBN
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2117:ISBN
2094:ISBN
2062:ISBN
2036:ISBN
2014:ISBN
1992:ISBN
1967:ISBN
1944:ISBN
1918:ISBN
1890:ISBN
1869:ISBN
1848:OCLC
1822:ISBN
1792:2020
1714:2020
1683:ISBN
1635:ISBN
1118:2020
1092:2017
1066:2019
1040:2022
1014:2017
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509:γαλῆ
504:galê
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236:and
154:oils
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