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Ernesto Paleani scrittore

Leonardo da Vinci. St. John the Baptist with the bowl in his right hand.

2018 Leonardo da Vinci. St. John the Baptist with the bowl in his right hand. Iconography and iconology. Survey and research, (Attorno all’arte, 12) Cagli 2018.

 

 

It is very difficult for a publisher to be able to distinguish, in scientific editions, the topics that may be unprecedented and innovative and easy to read. My experience in research in informatic and archival sectors has led me, more often than not, to make a choice also for authors who offer publications of all kinds every day.
On a specific research and study assignment on 19 April 2018, I investigated a painting on a bank vault in Switzerland called "Saint John the Baptist with a bowl in his right hand".
The work was carried out on a poplar board (55 x 42.5 cm) with a mixed oil and tempera technique and was found to the naked eye in excellent conservation.
Before starting to describe, motivate and determine the authenticity of the painting, I would like to point out that it has been subject to examination by prof. Maurizio Marini, art expert, in Lugano on 18 February 2009 and of which I was given a copy of the report.
In addition, I received other documents analyzing the work and precisely: the scientific analysis carried out by the "Scientific Laboratory of the Museum of Art and Science" of Gottfried Matthaes in Milan on 05.12.2016.
My analyzes have obtained a different but complementary result to what had been done previously, as it had not been examined a drawing by Leonardo kept in a private collection and exhibited in Lugano, for the first time in Switzerland, from October 16, 2011 8 January 2012 as part of cultural initiatives with the opening of the new LAC museum space (Lugano arte cultura) . Opera is therefore not known to Marini albeit discovered in 1991. The four other works that are approached as iconography to our examined without verification and without mentioning Leonardo's Treatise on Painting, transcriptions of archival sources and historical photographic recordings made by commissioned laboratories were not examined.
On the basis, then, to my specific technique of false color, using as my exclusive technique the typographic pantone, I found other particular elements that in any case were useful to verify the changes on the "veils" typical of the Master and have put in I highlight a detail that I define as "the author's stamp" as a typical seal of Leonardo.
My conclusion is that the work is by Leonardo da Vinci and can be dated between 1503 and 1506 being some sketches for the left hand and the inclination of the face.

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