Madonna of the Yarnwinder (The Lansdowne Madonna) 1501-07
This is one of two versions of the same subject associated with
Leonardo. The artist was documented as working on a small picture of
this subject in 1501, after his return to Milan from Florence, for the
French Secretary of State, Florimond Robertet. It is not clear which of
the two paintings went to Robertet, but he appears to have received his
picture in Blois in 1507.
The theme of the painting, which is likely to have been made
for private devotional purposes, focuses on the mother’s love for her
child, showing her gazing down at her son, and on the future passion of
Christ. Jesus is completely preoccupied with a yarn-winder which, by
virtue of its similarity to a crucifix, is regarded as a symbol of his
death.
Mary with her right hand raised in protection, seems to
want to draw the child back from the yarn-winder. But the child turns
away from his mother’s loving gaze, as his entire attention is focused
on the symbol of his future passion.
- Medium Oil on wood panel (transferred to canvas and later re-laid on panel)
- Size 50.2 x 36.4 cm
- Location Private collection
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The basic disposition and dimensions of the figure group in this
painting correspond quite closely in both versions, but not so
precisely as to suggest direct repetition. Technical examination has
revealed strikingly complex and similar underdrawings in both these
versions of the painting, indicating Leonardo’s direct involvement in
the design of both pictures.
Given the disparity of the painting technique employed in the
background, it seems likely that this picture was completed in the
master’s studio by another artist sometime after the other Madonna of the Yarnwinder (Duke
of Buccleuch) painting under Leonardo’s control, perhaps with his
active participation in the final execution of the figure group.
The production of multiple versions of the same theme in
Leonardo’s studio may have been a regular practice in response to the
demand for images of this popular type.
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