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20th CENTURY MOVEMENT ARTS

Fauvism and Expressionism

From about 1905 to 1910 artists sought to explore emotions in new ways, employing the use of bright, vivid colors and emotional images and subjects.

Bright vivid colors and somewhat abstract forms characterized Fauvism and Expressionism.

Cubism and Primitivism explored the human relationship with the mundane and extraordinary and was characterized by it's analytic and synthetic qualities. This art movement was also rather short and reached its height in the years between 1907 and 1911, extending and intermingling with the Futurism movement, although art scholars agree it had reached the end of its lifetime by 1919.  

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POST IMPRESSIONISM

Paul Gauguin, ‘Yellow Christ' (1889) Paul Cézanne, ‘Pyramid of Skulls' (1901)Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work. While their styles, therefore, wildly varied, paintings completed in the Post-Impressionist manner share some similar qualities. These include symbolic motifs, unnatural color, and painterly brushstrokes.The art has created a group of stylistically dissimilar artists—including Paul Cézanne, Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri Toulouse-Lautrec, and Henri Rousseau—formed the Post-Impressionists.

Characteristic

EMOTIONAL SYMBOLISM

This art is believed that a work of art should not revolve around style, process, or aesthetic approach. Instead, it should place emphasis on symbolism, communicating messages from the artist's own subconscious. Rather than employ subject matter as a visual tool or means to an end, Post-Impressionists perceived it as a way to convey feelings. According to Paul Cézanne, “a work of art which did not begin in emotion is not a work of art.”

Paul Cézanne, ‘Pyramid of Skulls' (1901)

EVOCATIVE COLOR 

It is purposely employed an artificial color palette as a way to portray their emotion-drive perceptions of the world around them. Saturated hues, multicolored shadows, and rich ranges of color are evident in most Post-Impressionist paintings, proving the artists' innovative and imaginative approach to representation.

Paul Gauguin, ‘Yellow Christ' (1889)

DISTINCTIVE BRUSHSTROKES 

Eventually most Post-Impressionist pieces feature discernible, broad brushstrokes. In addition to adding texture and a sense of depth to a work of art, these marks also point to the painterly qualities of the piece, making it clear that it is not intended to be a realistic representation of its subject.

Vincent van Gogh, ‘Undergrowth with Two Figures' (1890)

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IMPRESSIONISM AND REALISM

Here there are few paintings that can explain the differences of these two arts. Each painting is a landscape and each of these were made between the years 1850-early 1900s.

IMPRESSIONISM 

Claude Monet "Rue Montorgueil, Paris, Festival of June 30, 1878 (1878)"

As we see in Monet’s Rue Montorgueil, Impressionism uses blotchy colors and loose brush strokes to create movement. In this painting it feels like we are looking at the festival. The impression of what we are seeing is what defines the style. At first, the viewer needs to take a second to realize what they are looking at. With all the color and action it is difficult to separate individual people or flags. When we see something out of the corner of our eye, this is what we remember. It isn’t meant to be calm and collected. We are supposed to be overwhelmed.

REALISM

Rosa Bonheur’s painting The Horse Fair (1853-55)

This is an example of the focus of the realism style. Realism “sought to convey a truthful and objective vision of contemporary life”.The art like Rosa Bonheur The Horse Fair (1853-55) uses real images to portray the life of common people. Instead of a romanticized image of these horses, we see almost exactly what we would see if we were standing there watching it in person. This is part of the reason for making the painting real to the point that they look like photographs. The artist doesn’t want to make anything more than what it really is. Realism is meant to portray life without romanticizing it. It is meant to show the ways people make a living. The focus of Realism revolves around livestock, farm workers, middle class, and other ordinary activities. 

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ROMANTISM ART

At the end of the 18th century and well into the 19th, Romanticism quickly spread throughout Europe and the United States to challenge the rational ideal held so tightly during the Enlightenment. The artists emphasized that sense and emotions - not simply reason and order - were equally important means of understanding and experiencing the world. 

In part of the French Revolution, Romanticism embraced the struggles for freedom and equality and the promotion of justice. Painters began using current events and atrocities to shed light on injustices in dramatic compositions that rivaled a better staid Neoclassical history painting accepted by national academies. Artists began exploring various emotional and psychological states as well as moods.

The Romanic movement originated in Germany, then it spread to England, France and the rest of Europe. Across the Atlantic, America had its own version of Romanticism, the Hudson River School, which was the first truly American school of art.

The Nightmare (1781), Artist: Henry Fuseli

Artwork description & Analysis: Fuseli's strange and macabre painting depicts a ravished woman, draped across a divan with a small, hairy incubus sitting on top of her, staring out menacingly at the viewer. A mysterious black mare with white eyes and flaring nostrils appears behind her, entering the scene through lush, red curtains. We seem to be looking at the effects and the contents of the woman's dream at the same time.

Horrific and gothic images, where faces express feelings such as intense pain, anguish, anger or fear, e.g. Saturn Devouring his Son by Francisco de Goya.

The Raft of the Medusa (1818-1819)

Artist: Theodore Gericault

Artwork description & Analysis: Géricault depicts the desperate survivors of a shipwreck after weeks at sea on a wave-tossed raft beneath a stormy sky. At the front of the raft, a black man waves a shirt trying to flag down a ship barely visible on the horizon, while behind him others struggle forward raising their arms in hope of rescue. In the foreground, a disconsolate older man holds onto the nude corpse of his dead son, the body of a man hangs off the raft trailing in the water, and to the far left lies a partial corpse, severed at the waist.

The Scream (1893)

Artist: Edvard Munch

Artwork description & Analysis: The significance of Munch's The Scream within the annals of modern art cannot be overstated.  The fluidity of Munch's lateral and vertical brushwork echoes the sky and clouds in Starry Night, yet one may also find the aesthetic elements of Fauvism, Expressionism, and perhaps even Surrealism arising from this same surface.

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Baroque and Rococo Art Periods

The Baroque Art Era is classified as Early Baroque, High Baroque and Late Baroque periods. The Rococo Art era are said to be part of Late Baroque period. Although the Baroque Art and Rococo Art periods are sometimes classified as one in the same, they are actually quite unique and distinct.

But there are some differences between these two arts.

BAROQUE

Baroque art often depicted violence, darkness, and the nudes were often more plump than in Rococo works. Baroque art went largely hand-in-hand with the Counter-Reformation. Baroque is rich and vibrant, with often violent themes. 

For example, Bernini’s amazing Ecstasy of St Theresa. It looks almost orgasmic, expression upon her face. It was done to show her utter ecstasy at having the angel pierce her heart with God’s love. The talent and craftsmanship that went into all the intricate folds of clothing are truly astonishing.

Caravaggio (1571-1610) is renowned for his masterful use of chiaroscuro – a technique which contrasted lights with dark, or, as the Tate Gallery defines it as referring “to the balance and pattern of light and shade in a painting or drawing”.

Anthony van Dyck (1599-1641) was another Flemish Baroque master. A contemporary of Rubens, he nevertheless made his own way by becoming one of the leading portrait painters of his time – especially under the patronage of King Charles I.

ROCOCO ART

During the mid-1700s, artists gradually moved away from the Baroque into the modern Rococo style which was around ±1750-±1780. Rococo art was often light-hearted, pastoral, a rosy-tinted view of the world – very different from the darker, visceral paintings found in the Baroque.

Pélerinage à l’île de Cythère by Antoine Watteau (1684–1721)  

Jean-Honore Fragonard‘s The Swing is one of the most recognisable examples of Late Rococo art. This painting is found at the Wallace Collection in London and is utterly delightful and playful .

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RENAISSANCE ART ; Renaissance Art representer.

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RENAISSANCE ART

During the two hundred years between 1400 and 1600, Europe witnessed an astonishing revival of drawing, fine art painting, sculpture and architecture centred on Italy, which we now refer to as the Renaissance (rinascimento). It was given this name (French for 'rebirth') as a result of La Renaissance - a famous volume of history written by the historian Jules Michelet (1798-1874) in 1855 - and was better understood after the publication in 1860 of the landmark book "The Civilization of the Renaissance in Italy" (Die Kultur der Renaissance in Italien), by Jacob Burckhardt (1818-97), Professor of Art History at the University of Basel.

Characteristic

In very simple terms, the Italian Renaissance re-established Western art according to the principles of classical Greek art, especially Greek sculpture and painting, which provided much of the basis for the Grand Tour, and which remained unchallenged until Pablo Picasso and Cubism.

From the early 14th century, in their search for a new set of artistic values and a response to the courtly International Gothic style, Italian artists and thinkers became inspired by the ideas and forms of ancient Greece and Rome. This was perfectly in tune with their desire to create a universal, even noble, form of artwhich could express the new and more confident mood of the times.

Renaissance Artists

If the framework for the Renaissance was laid by economic, social and political factors, it was the talent of Italian artists that drove it forward. The most important painters, sculptors, architects and designers of the Italian Renaissance during the 14th, 15th and 16th centuries include, in chronological order:

Cimabue (c.1240-1302) Noted for his frescos at Assisi. Giotto di Bondone (1267-1337) Scrovegni Arena Chapel frescos. Gentile da Fabriano (1370-1427) Influential Gothic style painter. Jacopo della Quercia (c.1374-1438) Influential sculptor from Siena. Lorenzo Ghiberti (1378-1455) Sculptor of "Gates of Paradise" Donatello (1386-1466) Best early Renaissance sculptor Paolo Uccello (1397-1475) Famous for work on perspective. Tommaso Masaccio (1401-1428) Greatest early Florentine painter. Piero della Francesca (1420-92) Pioneer of linear perspective. Andrea Mantegna (1430-1506) Noted for illusionistic foreshortening techniques. Donato Bramante (1444-1514) Top High Renaissance architect. Alessandro Botticelli (1445-1510) Famous for mythological painting. Leonardo da Vinci (1452-1519) Creator of Mona Lisa, Last Supper. Raphael (1483-1520) Greatest High Renaissance painter. Michelangelo (1475-1564) Genius painter & sculptor. Titian (1477-1576) Greatest Venetian colourist. Andrea del Sarto (1486-1530) Leader of High Renaissance in Florence. Correggio (1489-1534) Famous for illusionistic quadratura frescoes. Andrea Palladio (1508-80) Dominated Venetian Renaissance architecture, later imitated in Palladianism. Tintoretto (1518-1594) Religious Mannerist painter. Paolo Veronese (1528-1588) Colourist follower of Titian.

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MEDIEVAL ART

Art during the Middle Ages saw many changes up to the emergence of the early Renaissance period. Early art subjects were initially restricted to the production of Pietistic painting (religious art or Christian art) in the form of illuminated manuscripts, mosaics and fresco paintings in churches. There were no portrait paintings in the art of the Middle Ages. The colors were generally somewhat muted. The subject of Medieval architecture is also covered in this section. 

Types of Medieval Art

 Byzantine Art  Romanesque Art  Gothic Art  Illuminated Manuscripts  Early Christian Art  Meaning of Colors in Christian Art 

Medieval Artists

 Medieval Women Artists  Bayeux Tapestry  Bayeux Tapestry Scenes  Meaning of Flowers in Christian Art  Meaning of Trees in Christian Art  Medieval Literature

Famous Artists

Donatello  Giotto  Leon Battista Alberti  Cimabue

History ;

 Christian Art and Religious iconography

Christian art and religious iconography began, about two centuries after the death of Jesus Christ. Christian art and religious iconography was originally based on the classical art styles and imagery used by the Ancient Greeks and the Ancient Romans. In the period encompassing Medieval art iconography began to be standardised and to relate more closely to the texts found in the Bible.

Byzantine Art

The capitol of the Roman Empire was Byzantium which was renamed as Constantinople. The Roman Empire was spit into two sections - the Eastern and Western part of the Roman Empire. The Western part of the Roman Empire disintegrated but the Eastern, or Byzantium Empire, stayed intact. Early Medieval Art reflect the differences between the development of the Catholic religion in the west and the Byzantium Empire of the east. Byzantine Art was the name given to the style of art used in very early years of this era or period. This period was also known as the Dark Ages ( 410 AD - 1066 AD ). The Dark Ages were followed by the Medieval times of the Middle Ages (1066 - 1485) and changes which saw the emergence of the early Renaissance Art. To appreciate the full extent of the changes in Medieval Art and the Early Renaissance it is helpful to understand its fore-runner - Byzantium Art and its effects on art during the Medieval times.

Romanesque Art 

The Western Empire (Europe) was dominated by warring factions and their quest for conquest and power . Early Medieval Art was initially restricted to the production of Pietistic painting (religious Christian art) in the form of illuminated manuscripts, mosaics and fresco paintings in churches. There were no portrait paintings. The colors were generally muted.

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ANCIENT GREEK ART

In around 450 B.C., the Athenian general Pericles tried to consolidate his power by using public money, the dues paid to Athens by its allies in the Delian League coalition, to support the city-state’s artists and thinkers. Most of all, Pericles paid artisans to build temples and other public buildings in the city of Athens. He reasoned that this way he could win the support of the Athenian people by doling out plenty of construction jobs; at the same time, by building public monuments so grand that people would come from far and wide to see them, he could increase Athens’ prestige as well as his own.

THE ARCHITECTURE

With its rectangular stone platform, front and back porches (the pronaos and the opisthodomos) and rows of columns, the Parthenon was a commanding example of Greek temple architecture. Instead, the interior room (the naos or the cella) was relatively small, housing just a statue of the deity the temple was built to honor. Worshippers gathered outside, entering only to bring offerings to the statue.  On the Parthenon, for example, the pediment sculptures show the birth of Athena on one end and a battle between Athena and Poseidon on the other. The architects of classical Greece came up with many sophisticated techniques to make their buildings look perfectly even. They crafted horizontal planes with a very slight upward U-shape and columns that were fatter in the middle than at the ends. Without these innovations, the buildings would appear to sag; with them, they looked flawless and majestic

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ANCIENT ART ; The picture below represent Ancient Art.

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ANCIENT EGYPTIAN ART

Ancient Egyptian art is five thousand years old. It took shape in the ancient Egypt, the civilization of the Nile Valley. Expressed in paintings and sculptures, it was highly symbolic and fascinating - this art form revolves round the past and was intended to keep history alive.

Ancient Egyptian art refers to the canonical 2D and 3D art developed in Egypt from 3000 BC and used until the 3rd century. It is to be noted that most elements of Egyptian art remained remarkably stable over the 3000 year period that represents the ancient civilization without strong outside influence. The same basic conventions and quality of observation started at a high level and remained near that level over the period.

Ancient Egyptian art forms are characterized by regularity and detailed depiction of human beings and the nature, and, were intended to provide company to the deceased in the ‘other world’. Artists’ endeavoured to preserve everything of the present time as clearly and permanently as possible. Completeness took precedence over prettiness. Some art forms present an extraordinarily vivid representation of the time and the life, as the ancient Egyptian life was lived thousand of years before.

Egyptian art in all forms obeyed one law: the mode of representing man, nature and the environment remained almost the same for thousands of years and the most admired artists were those who replicated most admired styles of the past.

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ANCIENT EGYPTIAN ART

Ancient Egyptian art is five thousand years old. It took shape in the ancient Egypt, the civilization of the Nile Valley. Expressed in paintings and sculptures, it was highly symbolic and fascinating - this art form revolves round the past and was intended to keep history alive.

Ancient Egyptian art refers to the canonical 2D and 3D art developed in Egypt from 3000 BC and used until the 3rd century. It is to be noted that most elements of Egyptian art remained remarkably stable over the 3000 year period that represents the ancient civilization without strong outside influence. The same basic conventions and quality of observation started at a high level and remained near that level over the period.

Ancient Egyptian art forms are characterized by regularity and detailed depiction of human beings and the nature, and, were intended to provide company to the deceased in the 'other world'. Artists' endeavoured to preserve everything of the present time as clearly and permanently as possible. Completeness took precedence over prettiness. Some art forms present an extraordinarily vivid representation of the time and the life, as the ancient Egyptian life was lived thousand of years before.

Egyptian art in all forms obeyed one law: the mode of representing man, nature and the environment remained almost the same for thousands of years and the most admired artists were those who replicated most admired styles of the past.

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PRE HISTORIC ART . The picture are some arts that present the pre historic art.

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PREHISTORY The main geological epochs include: PLIOCENE (c.5,300,000 BCE) This epoch begins roughly with the emergence of upright early hominids. They were too busy trying to stay alive to create art. This period used to end 2.5 million years ago when humans first started making tools, but geologists extended it to 1.6 million BCE, trapping the early Lower Paleolithic period in it.

PLEISTOCENE (c.1.6m - 10,000 BCE) This is a geologic period that covers the earth's most recent glaciations. It includes the later part of the Lower Paleolithic as well as the Middle and Upper Paleolithic periods. It witnessed the emergence of modern man and the great works of Paleolithic rock art, like cupules, petroglyphs, engravings, pictographs, cave murals, sculpture and ceramics. The term pleistocene comes from Greek words (pleistos "most") and (kainos "new"). For fact-addicts, the Pleistocene is the third stage in the Neogene period or 6th epoch of the Cenozoic Era.

HOLOCENE (c.10,000 BCE - now) During its prehistory section this geological period saw the birth of Human civilization, as well as a range of sophisticated paintings, bronze sculptures, exquisite pottery, pyramid and megalithic monomental architecture. Like its predecessor the Pleistocene, the Holocene epoch is a geological period, and its name derives from the Greek words ("holos", whole or entire) and ("kainos", new), meaning "entirely recent". It is divided into 4 overlapping periods: the Mesolithic (Middle Stone Age), the Neolithic (New Stone Age), the Bronze Age and Iron Age.

PREHISTORIC ART

There are 4 basic types of PreHistoric Art ;

·       Petroglyphs = cupules, rock carvings and engravings)

·       Pictographs = pictorial imagery, ideomorphs, ideograms or symbols, a category that includes cave painting and drawing

·       Prehistoric sculpture = including small totemic statuettes known as Venus Figurines, various forms of zoomorphic and therianthropic ivory carving, and relief sculptures

·       Megalithic art = any other works associated with arrangements of stones. Artworks that are applied to an immoveable rock surface are classified as parietal art; works that are portable are classified as mobiliary art.

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PREHISTORIC ART

There are 4 basic types of PreHistoric Art ;

·       Petroglyphs = cupules, rock carvings and engravings)

·       Pictographs = pictorial imagery, ideomorphs, ideograms or symbols, a category that includes cave painting and drawing

·       Prehistoric sculpture = including small totemic statuettes known as Venus Figurines, various forms of zoomorphic and therianthropic ivory carving, and relief sculptures

·       Megalithic art = any other works associated with arrangements of stones. Artworks that are applied to an immoveable rock surface are classified as parietal art; works that are portable are classified as mobiliary art.

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Renaissance art with Leornado Da Vinci

Leonardo da Vinci (1452-1519) was a painter, architect, inventor, and student of all things scientific. His natural genius crossed so many disciplines that he epitomized the term “Renaissance man.” Today he remains best known for his art, including two paintings that remain among the world’s most famous and admired, Mona Lisa and The Last Supper. Art, da Vinci believed, was indisputably connected with science and nature. Largely self-educated, he filled dozens of secret notebooks with inventions, observations and theories about pursuits from aeronautics to anatomy. But the rest of the world was just beginning to share knowledge in books made with moveable type, and the concepts expressed in his notebooks were often difficult to interpret. As a result, though he was lauded in his time as a great artist, his contemporaries often did not fully appreciate his genius—the combination of intellect and imagination that allowed him to create, at least on paper, such inventions as the bicycle, the helicopter and an airplane based on the physiology and flying capability of a bat.

Da Vinci received no formal education beyond basic reading, writing and math, but his father appreciated his artistic talent and apprenticed him at around age 15 to the noted sculptor and painter Andrea del Verrocchio, of Florence. For about a decade, da Vinci refined his painting and sculpting techniques and trained in mechanical arts. When he was 20, in 1472, the painters’ guild of Florence offered da Vinci membership, but he remained with Verrocchio until he became an independent master in 1478. Around 1482, he began to paint his first commissioned work, The Adoration of the Magi, for Florence’s San Donato, a Scopeto monastery.

However, da Vinci never completed that piece, because shortly thereafter he relocated to Milan to work for the ruling Sforza clan, serving as an engineer, painter, architect, designer of court festivals and, most notably, a sculptor. The family asked da Vinci to create a magnificent 16-foot-tall equestrian statue, in bronze, to honor dynasty founder Francesco Sforza. Da Vinci worked on the project on and off for 12 years, and in 1493 a clay model was ready to display. Imminent war, however, meant repurposing the bronze earmarked for the sculpture into cannons, and the clay model was destroyed in the conflict after the ruling Sforza duke fell from power in 1499.

LEONARDO DA VINCI: “MONA LISA”

When Milan was invaded by the French in 1499 and the Sforza family fled, da Vinci escaped as well, possibly first to Venice and then to Florence. There, he painted a series of portraits that included “La Gioconda,” a 21-by-31-inch work that’s best known today as “Mona Lisa.” Painted between approximately 1503 and 1506, the woman depicted—especially because of her mysterious slight smile—has been the subject of speculation for centuries. In the past she was often thought to be Mona Lisa Gherardini, a courtesan, but current scholarship indicates that she was Lisa del Giocondo, wife of Florentine merchant Francisco del Giocondo. Today, the portrait—the only da Vinci portrait from this period that survives—is housed at the Louvre Museum in Paris, France, where it attracts millions of visitors each year.

Around 1506, da Vinci returned to Milan, along with a group of his students and disciples, including young aristocrat Francesco Melzi, who would be Leonardo’s closest companion until the artist’s death. Ironically, the victor over the Duke Ludovico Sforza, Gian Giacomo Trivulzio, commissioned da Vinci to sculpt his grand equestrian-statue tomb. It, too, was never completed (this time because Trivulzio scaled back his plan). Da Vinci spent seven years in Milan, followed by three more in Rome after Milan once again became inhospitable because of political strife.

LEONARDO DA VINCI: PHILOSOPHY OF INTERCONNECTEDNESS

Da Vinci’s interests ranged far beyond fine art. He studied nature, mechanics, anatomy, physics, architecture, weaponry and more, often creating accurate, workable designs for machines like the bicycle, helicopter, submarine and military tank that would not come to fruition for centuries. He was, wrote Sigmund Freud, “like a man who awoke too early in the darkness, while the others were all still asleep.”

Several themes could be said to unite da Vinci’s eclectic interests. Most notably, he believed that sight was mankind’s most important sense and that “saper vedere”(“knowing how to see”) was crucial to living all aspects of life fully. He saw science and art as complementary rather than distinct disciplines, and thought that ideas formulated in one realm could—and should—inform the other.

Probably because of his abundance of diverse interests, da Vinci failed to complete a significant number of his paintings and projects. He spent a great deal of time immersing himself in nature, testing scientific laws, dissecting bodies (human and animal) and thinking and writing about his observations. At some point in the early 1490s, da Vinci began filling notebooks related to four broad themes—painting, architecture, mechanics and human anatomy—creating thousands of pages of neatly drawn illustrations and densely penned commentary, some of which (thanks to left-handed “mirror script”) was indecipherable to others.

The notebooks—often referred to as da Vinci’s manuscripts and “codices”—are housed today in museum collections after having been scattered after his death. The Codex Atlanticus, for instance, includes a plan for a 65-foot mechanical bat, essentially a flying machine based on the physiology of the bat and on the principles of aeronautics and physics. Other notebooks contained da Vinci’s anatomical studies of the human skeleton, muscles, brain, and digestive and reproductive systems, which brought new understanding of the human body to a wider audience. However, because they weren’t published in the 1500s, da Vinci’s notebooks had little influence on scientific advancement in the Renaissance period.

LEONARDO DA VINCI: LATER YEARS

Da Vinci left Italy for good in 1516, when French ruler Francis I generously offered him the title of “Premier Painter and Engineer and Architect to the King,” which afforded him the opportunity to paint and draw at his leisure while living in a country manor house, the Château of Cloux, near Amboise in France. Although accompanied by Melzi, to whom he would leave his estate, the bitter tone in drafts of some of his correspondence from this period indicate that da Vinci’s final years may not have been very happy ones. (Melzi would go on to marry and have a son, whose heirs, upon his death, sold da Vinci’s estate.)

Da Vinci died at Cloux (now Clos-Lucé) in 1519 at age 67. He was buried nearby in the palace church of Saint-Florentin. The French Revolution nearly obliterated the church, and its remains were completely demolished in the early 1800s, making it impossible to identify da Vinci’s exact gravesite.

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ONE of the enduring mysteries of the Renaissance has been resolved with the discovery of the workshop of Leonardo da Vinci in Florence.

The workshop, where Leonardo painted and drew in the early 1500s, is in the monastery of Santissima Annunziata in the centre of Florence. It is decorated with frescoes thought to be by Leonardo and his students. It was here that Leonardo is likely to have met the woman who inspired the Mona Lisa and worked on The Virgin and Child with St Anne, one version of which is held by the National Gallery.