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19 apr 2024 · Cecilia, Beatrice e Lucrezia, le tre donne di Ludovico nella Milano di Leonardo da Vinci. Apr 19, 2024 #Beatrice d'Este, #Cecilia Gallerani, #leonardo da vinci, #Lucrezia crivelli, #Ludovico il Moro. Cecilia Gallerani ritratta da Leonardo da Vinci (La dama con l’ermellino) Milano, 1488.
2 mag 2024 · The painting of the day that I propose to you today is the Belle Ferronière by Leonardo da Vinci, painted in oil on walnut panel between 1490 and 1497, kept at the Louvre Museum in Paris. The young woman is portrayed from life in a half-length portrait and between the viewer and her presence, Leonardo interposed a Flemish-style parapet.
3 giorni fa · Due giovani donne belle e autoritarie, due cugine ambiziose e assetate di potere: Beatrice d’Este e Isabella d’Aragona. Sullo sfondo, una città sfarzosa e traboccante di vita: la Milano di fine Quattrocento, la città degli Sforza, di Ludovico il Moro, di Leonardo da Vinci e del Bramante.
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22 apr 2024 · However, one of the biggest problems in their relationship was that Ludovico was contracted to marry the daughter of Ercole d’Este, the Duke of Ferrara, Beatrice d’Este. This arrangement of marriage would represent a major alliance for Ludovico as it was with the ancient noble dynasty of Italy.
4 mag 2024 · The Chiesa di Santa Maria delle Grazie (Holy Mary of Grace Church) in Milan is mostly famous for The Last Supper which Leonardo da Vinci painted on the wall of the refectory of the local Dominican convent. While tickets for The Last Supper Museum are essential, the large church may be seen for free and without tickets.
1 giorno fa · “La dama con l’ermellino” è un dipinto ad olio rappresentativo del Rinascimento italiano, realizzato da Leonardo da Vinci tra il 1489 e il 1491. L’opera ritrae Cecilia Gallerani , amante di Ludovico Sforza, detto il Moro, seduta con grazia e con in grembo un ermellino, simbolo di nobiltà e purezza.
30 apr 2024 · His innovative and poetic technique that introduces this complex female representation which focuses on the expression of the face, the intensity of the look, and the body language, is explained in his Treatise on Painting, where Leonardo gives specific guidelines on how to portray the female figure:
