Leonardo da Vinci Research Group
Marquis de Ganay Collection Paris
Salvator Mundi, Savior of The World
Salvator Mundi Savior of The World the Leonardo, da Vinci Research Group It is our very strong considered opinion, backed up by substantial study, that this painting in blue must be reviewed further in light of our mounting weight of proof that the painting is "NOT" the work of Leonardo, but that of another lesser talent. Owner Robert Simon, in New York, the historians, all the scholars involved, the restorer, technical people, the team Simon put together, and The National Gallery of England, need to understand the "INTENT" (example) How an audience interprets a piece of art will always be somewhat different from what the artist originally intended simply because the response to art is always subjective. Every person responds individually to a given work of art based on their own personal experiences, values, education, temperament, etc. A fresco created by an Italian Master Leonardo da Vinci is going to mean something very different to a modern American. Yet, the question “what did the artist mean by that?” has always loomed large in the appreciation of art. Some artists feel that the question is irrelevant and should not even be asked since the answer may bias the response of the audience to the work of art. Yet most people who enjoy a piece of art are interested in knowing at least something about the life of the artist who created it and the circumstances under which it was created. The “intention” of the artist thus becomes a relevant piece of information, including how the artist intended the work to be displayed in order to make a proper assessment of the painting. It is this added dimension that is missing from the traditional authentication methods that has led to, in our opinion, an incorrect validation.This painting, not having been the work of Leonardo, da Vinci but perhaps a student, contains many changes, but does not have the subtle trademark processes that Leonardo put into his works of art.It is a well-documented fact that Leonardo, da Vinci had a philosophy and penchant for infusing science and mathematics, with extreme accuracy into his every artistic endeavor. It leads to the supposition that his artworks would reflect his almost obsessive search for truth and accurate portrayal of everything around him. The artworks after all were an extension of the expression of his scientific studies. Using what is known about Leonardo from his writings and codex’s as a starting point to review the Salvatore Mundi original and "restored" images, yields a number of anomalies in the restored painting that are inconsistent with Leonardo's techniques, and his uniquely accurate portrayal of geometric symmetry, color, shadowing and scaling.The painting,Once owned by Marquis de Ganay "Salvator Mundi" was auctioned by Sotheby's May 1999 in its "Important Old Masters Paintings" auction. It sold for $332,500.
According to The City Review:
the painting crafted in "Red and Blue clothing, and is also in our opinion, the authentic Salvator Mundi painted by Leonardo, da Vinci. A detailed analysis of the measurements and proportions is a very telling indication of authenticity because of the clearly perfect alignment. Leonardo's technique of ensuring perfect ratios and accurate alignment in his Salvatore Mundi painting may be compared to the tolerances of those in his Vitruvian Man and other of his works.
Who purchased the painting for $325,500 in 1999 and how many owners has it had since then?
The crucial question is: When was it restored?
Before the 1999 auction it can be seen in its present state: here and here.
A few process Leonardo invented, discovered by, Michael W. Domoretsky
Some are numbers, some are letters, and many are in "MICRO FORM", a process Leonardo invented to hide his intended messages. It is unfortunate that the scholars are locked into a process that fails to consider motivation and intent because we firmly believe that these are key criteria against which Leonardo's, and the works of other artists of the period, must be tested. As a result of our findings we strongly recommend that the "Blue" painting be reevaluated against the additional criteria we have found to be hallmarks found in all of Leonardo's works. We believe that this reevaluation will yield the finding that this is "NOT" the work of Leonardo.
By Michael W. Domoretsky
Leonardo,da Vinci Research Group
The students painting in blue. The True Leonardo, da Vinci Salvator Mundi in red and blue.
During my research I ran across the following information which I found extremely interesting and intriguing:
Various tests and close examination has convinced experts this painting in red and blue is genuine. Monochromatic sodium lighting, infra-red and ultra-violet tests were performed and, along with x-rays, these have revealed a number of interesting details:
The pearls around the jewel have been altered.
A cross has been removed from the orb (not very successfully). Leonardo deviated from his basic sketch very little. Infra-red tests showed up the original sketch behind the painting.
X-rays show the paint has been applied in layers on a wooden base. This technique was used often by Leonardo during his last five years of work.
A thick coat of varnish has been added.
Nut wood was used for Salvator Mundi, the same was used on St. John the Baptist. The triangular composition, light angles, facial shadows and hair swirls are typical of many of Leonardo's paintings, while the colors used are reminiscent of the Last Supper.
Typical of Leonardo, many of the objects in this painting have a deeper significance which is not at first obvious to the eye.
The eight-pointed centre star signifies resurrection and corresponds to the eight lines of the threads found on the stole. The ruby represents martyrdom and passion. An unusual vestment tuck seen on the right-hand side of the stole signifies the lance piercing Christ's side. What we now see as a globe was originally an "orb" (when surmounted by the cross); it probably recalls the words, "I am the Light of the world. “The stole symbolizes the Voice of Immortality. Catholic priests don stoles as a sign of accepting the New Covenant.
One issue that is always before us is this: What is of great worth and more intrinsic value, the representation or the reality? The symbol or the reality which is being symbolized? The ritual or the reality that the ritual is designed to celebrate?
The “Red and Blue Painting below, is the True Leonardo, da Vinci Painting.The Blue painting hanging in The National Gallery of England on display now with the collection of true Leonardo, da Vinci Paintings, is owned by
Robert Simon a private art dealer in
New York and his group, and though Leonardo drew the raised hand in the preparatory drawing was completed by someone other than Leonardo, likely Leonardo's student.
The painting above is in perfect alignment and proportion
A detailed analysis of the measurements and proportions is a very telling indication of authenticity because of the clearly perfect alignment in the red and blue painting above.
By Leonardo, da Vinci.
Further research is revealing that there is a high likelihood that the hand in the Blue painting was originally prepared by Leonardo, but that the remainder of the preparatory drawing and the painting itself were completed by his student. It also appears that the restoration displaced the original painting by as much as a quarter inch and softened the image washing out the detail. It is unfortunate that the techniques used by Leonardo were not recognized as it would have assisted greatly in efforts to ensure that the restoration included the detail that Leonardo originally placed in the hand in the artwork.
The Master Leonardo, da Vinci's painting and prep picture.
Look at the two S's in the painting and prep work they are the same, they have four points, and then look at the Mushroom in the clothing, a symbol standing for the initial "M", for Mundi"Salvator Mundi"
Salvator Mundi, or Saviour of the WorldThe original Leonardo, da Vinci Painting above. Notice the three quarter “Templar Cross” in the bottom of the mushroom outlined, also look at the "S", this is a four pointed "S", something Leonardo was very brilliant about doing in his masterpieces across the board, three very important and prfound symbol's.
Something to ponder.
The "S" = Salvatour, The "M" = shape of the Mushroom, for Mundi, and the Cross is a Templar Cross,
All have profound Symbolic meaning.
The Vitruvian Man, By Michael W. Domoretsky 2007
The blue painting S is not Leonardo's, above and below, they do not compare with the prep drawing, in any way shape or form, This was not done by Leonardo, da Vinci.
Not a true Leonardo in the picture above
The prep hand prepared by Leonardo,da Vinci and the prep drawing painted and completed by the student, notice the two S's are very different, the students S has no points and is smooth flowing, while the rmasters S is much older looking and has four points, a true Leonardo masterpiece, and also look at the square marked in the red and blue painting, the mushroom has vanished, a symbol for the letter M.
This Salvator Mundi painting below is by Leonardo's, prep. drawing in "blue,"
and was done by the "student", then restored by the restorer,
Not a true Leonardo Painting, owner Robert Simon N.Y
.
As with many such paintings, there is much symbolism.
The true completed Salvator Mundi Painting below by Leonardo, da Vinci in red and blue. Salvator Mundi, or Saviour of the World below has over 35 symbols within it from the neck down, most in "micro form", which the Lionardo, da Vinci, Research Group discovered in a processes Leonardo invented to include in all his masterpieces.
Leonardo's knot, Italy, circa 1500
The eight-pointed centre star signifies resurrection and corresponds to the eight lines of the threads found on the stole. The ruby represents martyrdom and passion.
The structural layout of the "student's" "blue" painting below of Salvator Mundi, is unintentionally asymmetric, unlike Leonardos work which is always perfectly balanced and proportioned. There is only one symbol in evidence, now referred to as a globe. Previously the word globe would have been referred to as an "Orb”. Other unfortunate changes in the student’s work is that the mushroom, which stands for the cipher "M" has vanished as a symbol. (Refer to the 6th picture above), and the “Templar Cross" below it,clearly seen in the red and blue painting by Leonardo, is also missing. This means that two very significant symbols are missing, from a very important painting. A very clear indication that Leonardo did not complete the "blue" painting.
Shown below are two paintings, the one on the left completed by Leonardo, da Vinci in red and blue, the one in the middle in "blue", likely by an unknown student, and the one on the right a composite of both Leonardo's and the students paintings.
Conclusion: the Red and Blue painting on the left is the true Salvator Mundi, Saviour of The World.The blue painting was completed by an unknown student.The only contribution Leonardo made to the "blue" painting was that he Leonardo drew the raised hand. Therefore, though Leonardo was involved or perhaps supervised the production of the painting, he did not complete the entire preparatory drawing, nor did he complete the final painting. We therefore conclude that this is not an authentic Leonardo, da Vinci work. It is however a unique piece of artwork that was with a high degree of certainty touched by Leonardo.
Clearely, this is "not" Leonardo, da Vinci's Painting below in blue.
The transparent overlay of the blue painting over the red and blue painting below, clearly illustrates the difference in the Masters work when compared to that of the students. Another clear indication that the blue painting was not painted by Leonardo, da Vinci is that he would not have completed a painting with sections of thumb missing on both sides of the artwork.
Our research indicates that the Red and Blue painting is an authentic Leonardo, da Vinci painting. It has over 35 symbols and images hidden within the lower half of the artwork.
The Lionardo,da Vinci Research Group has discovered a number of processes within all of Leonardo’s major works that traditionalist scholars, historians and the owners of the blue painting have yet to come to accept as legitimate tools for authentication. This is a clear case where conventional thinking and traditional validation methods have misled the experts into authenticating a painting that was not completed by Leonardo, da Vinci.
This is another example of Leonardo hiding numbers and letters in micro form, in this case in the “Orb”, and combining it with another gesture of the “index finger above” pointing to the profile of Leonardo, da Vinci’s face. The second face of Leonardo, included here for comparison below, is from The Adoration of the Magi, second picture down.
In "Micro Form" at the bottom of the "Orb" above is the profile of Leonardo's face.
Leonardo's profile below, in The Adoration of the Magi.
Three faces in a diffrent location of the "Orb" in the two pictures below.
Three Micro Faces and a Cross below lower botom right.
Located in the picture above are three faces and a Cross.
Located In the right hand corner of the Orb above, on the outside, under the thumb, is a micro image of a woman's face with a hood, looking up at the Orb above. Her eyes are wide open and her mouth is in a circle. The gaze is directed precisely at the orb and is an expression of amazement. Additionally there are a series of white beads wound around the Orb, fingers, thumb and palm of the hand circled in white.
Below In both pictures, Michelangelo di Lodovico Buonarroti Simoni, the picture on the right faceing you is from the Orb above, the picture on the left is from
The Academy of Athens painting bellow in black and white.
Leonardo, da Vinci on the left below, and on the right, Michael Angelo
Archway of the Academy of Athens.
In the the Academy of Athens, a painting by the renaissance artist Raphael, there are two figures in the archway. The one on the left is generally thought by many to be Aristotle, but is actually Leonardo, da Vinci. The man next to him on the right is another man of great intellectual and artistic importance, Michaelangelo. It is important to note in the painting that Michaelangelo has stopped and Leonardo is still walking, indicative of forward motion of Leonardo and the acceptance of knowledge from him by Michaelangelo who is standing still. The upright pointing arm with the finger pointing up is a sign of Leonardo making a higher point of importance. The books in their hands denote the transition and continuity of knowledge from Leonardo passed through the years to Michaelangelo.
Comparing the head of Michaelangelo in the Academy of Athens painting with the head found in the orb of the red and blue Salvator Mundi painting shows a striking similarity. It is known that artists of the renaissance period showed their admiration and respect for beloved masters by including their likeness in their own art.
The name of painting, "The Academy of Athens," is an indication that there is an intent to teach and pass along knowledge. In this case the presence of both Leonardo and Michaelangelo is depicting both a connection and continuity of knowledge from master to to apprentice or perhaps from peer to peer. This painting, on a grand scale, of learning and the high regard for the masters held by others in the painting, was a means of flaunting the disregard in which they held the dogma of the era, and the high regard they had for passing on truth and higher learning.
Leonardo, da Vinci does it yet again...... 500 years after his passing, another of his brilliant insights brings to light another scientific truth.
A french scientific researcher, using the same approach as the Lionardo, da Vinci Research Group, that of reading Leonardo's words and applying them to his works, or in this case to Leonardo's study of the real world, has uncovered and proven true a postulation that there is a relationship between the size of a tree's trunk and the combined measure of its branches. This highly detailed and precise observation is only now being validated by 21st century science.
This discovery and validation is added proof that everything Leonardo created was based upon scientific principles and that he applied both the scientific principles and his legendary precision to everything he created, including his artworks. Leonardo's accuracy both in his observations and his work leads us unerringly to the fact that ALL of his art and scientific work can be authenticated or conversely proven not to be his work based on the degree of detail, precision and in the case of his art, his hidden images and constructs.
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The following link activates the article detailing the findings related to Lionardo,da Vinci observation on the relative cross section of the trunk of a tree to that of its branches:
Based on the understanding gained from over 75,000 hours of research in ten years by Michael alone, and such added vindication of our methods and findings as the article referenced above, we can clearly state that the "Blue" Salvatore Mundi fails the tests of accuracy of portrayal, mathematical precision, scale and proportion, color, sense of life and does not have any of the tell tale hidden elements that Leonardo placed in ALL of his major works. The only exception to these findings are that the up raised hand in the completed painting was identical, within our ability to measure, to the preparatory drawing beneath drawn by Leonardo in both the Red and Blue painting as well as the Blue painting. The remainder of the preparatory drawing and the finished painting were completed by another less accomplished artist. This second artist, likely a student, did not have the understanding of mathematics, and geometric precision, or the skills to create art with the microscopic accuracy for which Leonardo was known.
Perfect, in our opinion
A comparison of the preparatory drawings of the raised hands in both paintings shows them to be identical. The extreme accuracy and detail indicate to us that the hands were drawn by Leonardo, da Vinci. A detailed analysis of the Blue painting reveals off-sets in the symmetry and scale. These anomalies were introduced into the original work by the student who completed the painting and by the recent restoration artist.
In the original, (the red and blue) note the the roundness of the thumb and arch on the side coming down from the top to the inside of the crease of the next knuckle. Also make note of the "S" in the cuff of the wrist. This was created in very old in block form which is consistent with the fonts of the era in which the painting was created.
Notice in the blue painting the top of the thumb has a more squared off character. The arch of the thumb from the top to the inside of the next crease of the knuckle is missing. These omissions are very obvious to anyone looking at the painting carefully.These issues should have been noted and corrected, if not by the original artist, then by the restoration artist. The S also in the area of the cuff of the wrist is a modern font and not consistent with the fonts of the middle ages. These errors are clear and obvious, and Leonardo would not have allowed such errors to persist in his own works..... He was far to exacting to allow such oversights to remain uncorrected.
Our conclusion that the red and Blue painting is the authentic Leonardo painting, while the Blue painting is not that of the Master but by another artist , likely a student, is clearly supported by the just the observations of the prominent errors remaining in the artwork. This evidence stands alone and is enough to convince us. When combined with the additional mathematical, geometric and style evidence covered elsewhere, it is difficult to come to any other conclusion.
We are hoping that the scholars and historians who are presently constrained by traditional methods of authentication will come to understand the new discoveries made by the Lionardo, da Vinci Research Group, and accept and use our research as added criteria by which to authenticate the works of Leonardo and other renaissance artists
The true prep work drawing below and painting of the Four pointed "S" in the red and blue painting clearly show the evidences of Leonardo da Vinci's hand being in the entire painting of Salvator Mundi, Savior of The World, the red and blue painting.
The true Leonardo, da Vinci work above, both in prep and in painting.
Again, when will they listen to the Lionardo, da Vinci Research Group and there concerns?
Article in The Star Tribune / Intertainment / Wed. June 10, 2012
Da Vinci painting's restoration creates conflict:
Experts are bitterly divided over the restoration of a Leonardo da Vinci painting that some say might have gone too far.
To see more of the Article click link in red above:
They have been "changed!" the below picture has been restored, not to the likeing of many, find out why in the link above in red, then come back to the article by the Lionardo, da Vinci Research Group.
Restored Painting.
An Opinion, Based on Fact.
Here we go yet again! Restoration has likely damaged another priceless work by Lionardo,da Vinci.We are pleased to see however that some of the experts recognize that lines are being crossed that should not be and have expressed and publicized their very valid concerns by resigning from the Louvre restoration advisory committee. This to us is a sign of true integrity on their part.
The biggest problem is that, to date, art experts in general have failed to recognize and acknowledge that much of what Leonardo put into his paintings is hidden by extremely subtle shadings and since they are not recognized by the restoration personnel they "clean away" these subtleties along with the over lying accumulation of contaminants or they paint over these very fine details not understanding their existence or importance.
Unfortunately it is not just the Louvre that is causing these irreplaceable paintings to lose the "intent" Leonardo and other artists placed in their works. Other works by Leonardo are being damaged as well. It is the opinion of Lionardo, da Vinci Research Group that there should be a moratorium on the restoration of ALL major renaissance works until the "experts" and "scholars" recognize that there are extremely delicate subtle elements within the paintings that are obliterated when conventional restoration techniques are applied. We have made every attempt to present the overwhelming and clear findings to the "experts”. Unfortunately there is a sense of empire, disbelief and stubborn unwillingness on the part of art world "experts" to admit that which is obvious to those who see our findings. As a result the world is losing some incredibly valuable and irreplaceable treasures. It saddens us greatly that the established art authorities and restoration experts are unwilling to admit that there may very well be things that they have missed, and that they might be in error.We understand that such an admission would be embarrassing and costly, both to the individual experts, and to the industry as a whole. It would place the authentication and restoration processes into flux and might very well affect the financial integrity of the renaissance fine art market. But if the processes used presently are continued, we will also continue loosing priceless art.
Lionardo,da Vinci, Research Group sincerely hopes that the headlong rush of destructive restoration stops before more irreplaceable works become just a shadow of their intended images. We in the Research Group are hoping that a groundswell of understanding of the hidden processes and images by the public, and other interested parties, causes an outcry that encourages the "experts" in the art world to make the effort to understand the ramifications of our findings, so that they take appropriate steps to safeguard the heritage that Leonardo and other allied artists bequeathed to us all. We encourage all who have an interest in preserving our artistic heritage, to understand our discoveries and to voice their anxiety on the subject to those who are charged with the safe keeping and maintenance of these works of art.
A note sent from a friend in Australia to Michael
Dear Michael, 7th April, 2011
I am writing to let you know that it is very pleasing to see that finally, someone has posted findings/discoveries extracted from Leonardo, da Vinci’s paintings that have not been obtained by altering his original works in any way what so ever.
For many years I have been looking at codes and messages that have been embedded in architecture and paintings. In particular I have researched the period from early Egyptian times, through to the end of the Baroque, when the advent of the printing press diluted and finally destroyed the transfer of structured coded and meaningful graphical information that had previously and historically transferred from one master to another in paintings and buildings that Michael has well understood very successfully.
I have catalogued hundreds of images from Leonardo’s, and other notable artist’s works. Although we have approached this topic from different directions, I note Michael that your findings are consistent with many of the images I have on file and be on.
In his manuscripts/notebooks, Leonardo speaks extensively of perspective, light, shade, color and, mirrors. The images Michael you have found relate to perspective, light, shade, color, optical illusions, and most of all mirrors. We have all seen the visual perspective drawings that can be one or more paintings in which you Michael so succinctly named “pictures within pictures”. The following are simple examples of such altered perspective:
Leonardo was very adept at using this form of altered perspective in his paintings and drawings, the most notable of these that comes to mind is one of his earliest drawings known, the “Landscape with a view of the Arno River”, currently held by the Uffizi in Florence.
A Few Examples bellow in the same picture
Discovered in 2002
All work is Copyrighted Protected 2000-2012- may not be used in any way,manor, or form, without written permission by owner.
As you have shown in your lectures, this drawing is packed with “embedded” images which are very easy to see. This technique was employed by many masters, particularly in the renaissance period. However, unlike his contemporaries, Leonardo also embedded images in Micro form, or with such clever shading effects that they can only be seen in their true form with a magnifying glass.
You have shown this technique in your writings and demonstrating these process, but what is impressive me is that you have taken this a step further, taking literally, what Leonardo said about different things in his notebooks which you have discovered, three to date, and have applied that knowledge directly to his paintings. What you have come up with is an exciting collection of images that could not have been discovered without the process you have discovered.
I am personally very interested in following your continuing story and the discoveries you have made and what may come in the future.
Michael, your discoveries have opened up a whole new avenue of research into Leonardo’s vast body of works, and also shown that when reading his journals, researchers / historian and Scholars, should read between the lines for “meaning within meanings”, in much the same way that we are able to see in “Pictures within Pictures” that you so properly named and fitted to Leonardo’s artwork.
Regards,
Glynne
Louvre’s Leonardo, da Vinci restoration ignites art world row
Leonardo, da Vinci
TodayThe cleaning of Leonardo's 500-year-old painting, The Virgin and Child With Saint Anne, has divided the Louvre's advisory committee for its restoration. – AFP Photo
PARIS: Delicate work to restore a Leonardo Da Vinci masterpiece, to be unveiled in March, has turned into a headache for the Louvre, after experts accused the Paris museum of putting the precious oil work at risk. Leonardo began painting “The Virgin and Child with Saint Anne” in 1503 and when he died in France in 1519 the unfinished work, depicting Christ beside his mother and grandmother with a sacrificial lamb, was acquired by King Francis I.
Restoration carried out in the past century left the “Saint Anne” disfigured by stains, on the Virgin’s dress for instance, due to the ageing of a substance in the varnish and in 2010 the museum decided to restore the work once more.The “Saint Anne” is to be unveiled to the public in March as the highlight of a major exhibition built around it.But the project hit trouble last autumn as critics warned that cleaning could damage the masterpiece, and two experts have since resigned in protest from the advisory committee set up to oversee the work.
Both are art world heavyweights: Segolene Bergeon Langle, who left in December, is a French national heritage curator, while Jean-Pierre Cuzin who left in the autumn is former chief curator of the Louvre’s painting department.A French arts journal first sounded the alarm in October with an article entitled “Leonard in danger”.
At stake was the type of solvent used to dissolve the yellow-brown coat of varnish covering the painting, deemed too harsh by critics who fear it could remove the actual paint. Experts especially feared damage to the faces of Saint Anne and the Virgin Mary, and more broadly to the “sfumato” – layers of clear paint used by Da Vinci to produce smoky, softened contours, on this work as on the “Mona Lisa”.Contacted by AFP last week, the curator Bergeon Langle said she left the advisory committee for several reasons.
“I deemed that the restoration was not being carried out in line with what I imagined was necessary for this Louvre painting. That is my firm belief.”– Louvre insists ‘Saint Anne’ is not at risk – One critical point was the question of whether to remove a white patch on the body of the baby Jesus.The museum’s chosen restorer Cinzia Pasquali, who worked on the paintings of the Chateau de Versailles’ Hall of Mirrors, was convinced it was a patch of varnish, turned white by microscopic cracks, and wanted to remove it.
Bergeon Langle believed it may have been added by Da Vinci’s own hand – and was wary of any intervention.Finally Vincent Pomarede, the head of the Louvre’s painting department, went ahead and green-lighted its removal after having it analysed.
“On that issue, we were in disagreement,” he told AFP. “But I have the laboratory results and they are conclusive. I was certain it was a cracked varnish, and you can see plainly from the final result that it is.””I have no regrets,” said Pomarede, who has insisted the Louvre is not putting the work at risk. Last autumn the Louvre invited journalists to view the painting in the workshops of the French Museums’ Centre for Research and Restoration, the C2RMF, next to the Louvre, to defuse tensions.
In 1994, the Louvre had to abandon an earlier plan to restore the “Saint Anne”, over fears for its delicate “sfumato”.At the time, explained Pomarede, the Louvre did not have the technical know-how to protect the work. Now, however, he said it was possible to measure the thickness of the varnish down to the last micron.On the subjects’ fragile faces, for example, the restorer left an extra thickness of varnish: 16 to 17 microns, against 8 to 12 microns elsewere – and down from 30 to 35 microns previously.Early this month the scientific committee met and handed down a “positive verdict on the thinning of the varnish and the removal in places of additional layers of paint,” said Pomarede.
“Two or three experts even wanted to go further” including removing secondary tree trunks that are thought to have been added in the 19th century,”said Pomarede – who ruled to keep the trunks as they are. Since then the Louvre says tensions have simmered down with the dissenting experts.
Pasquali is putting the finishing touches to the work but this phase of the work is all reversible unlike removing varnish, and “should be a more serene period,” Pomarede said.
But Bergeon Langle, who was received by the head of the Louvre Henri Loyrette early this month and has another meeting planned with Pomarede, told AFP she still had “doubts” over the progress of the work.“As a general rule, I prefer old works to be cleaned only very lightly. You can never retrieve the original colours, what you get instead is the current state of the painting materials. Leaving a slight veil over the work makes it more harmonious,” she explained
Cercate e troverete !
Las Vegas becomes new home to
Leonardo da Vinci sculpture
Las Vegas becomes new home to Leonardo da Vinci sculpture
It was 500 years in the making but on Jan. 19 the only authenticated Leonardo da Vinci sculpture, “Horse and Rider," was revealed and made available to the public in Las Vegas. Brett K. Maly, whose keen eye as a fine arts appraiser has made him a regular on the Las Vegas-based TV show, “Pawn Stars” on the History Channel, is one of the principals instrumental in bringing this monumental find to Las Vegas.
In 1985, four businessmen traveled to Switzerland and were introduced to a centuries old sculpture languishing in a vault. Hand carved from beeswax, the piece measured 10” high by 8” long and 3” wide depicting a war horse and its distinguished rider and was purported to be by Leonardo. The men contacted Dr. Carlo Pedretti, Professor Emeritus of Art History and Italian Studies on Leonardo da Vinci at UCLA and considered the world’s authority on the life and works of Leonardo. After much study and research, Dr. Pedretti authenticated the work as a Leonardo. The businessmen had a mold made from the delicate wax sculpture but never followed through on plans to make and market bronze sculptures from the mold created. The whereabouts of the original wax sculpture is currently unknown.
Richard A. Lewis purchased the mold in 1988 along with the letter of authentication from Dr. Pedretti and other documentation; storing it for 25 years. After retirement, Lewis searched on the Internet for information about the mold and about one year ago contacted Art encounter in Las Vegas. Maly, the president of Art encounter,admitted that he probably chuckled when told by one of his staff that someone was calling to speak to him about a Leonardo da Vinci piece he owned. After realizing the caller was legitimate, Maly involved his father, Rod Maly, founder of Art encounter with decades of experience, to present Horse and Rider to the world in
Las Vegas.
On the Mona Lisa in Paris
Photo: AFP
Letter sent to Michael from Silvano Vinceti above from Italy, on the “Mona Lisa” in Paris.
Hi, Michael February 16, 2011
I got your 2nd Email today and will be writing to you in the morning, in regards to "our finding together" I am very excited again, until the morning, I feel that the academic world will be put on the seat with what you have learned, very excited.
Silvano Vinceti,
Chairman of the Italian National Committee for Cultural Heritage
Although Mr. Domoretsky agrees with Silvano Vinceti, Chairman of the Italian National Committee for Cultural Heritage that there are numbers and symbols in the Mona Lisa Eyes; Mr. Domoretsky disagrees profoundly on the meaning and interpretation that Mr. Vinceti puts forth. The pictures Domoretsky sent to Vincenti were from a discovery made by Domoretsky ten years previously and do not correlate to Mr. Vincenti’s interpretations. Mr Domoretsky believes that the numbers have a geometric connection to the Vitruvian Man.
The Vitruvian Man Is a world-renowned drawing created by Leonardo da Vinci circa 1487. It is accompanied by notes based on the work of the famed architect, Vitruvius. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, and, like most works on paper, is displayed only occasionally.
The drawing is based on the correlations of the ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architecture. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Leonardo's drawing is traditionally named in honor of the architect. Mr. Domoretsky’s over a decade of research has lead him to conclude that the letters and symbols in The Mona Lisa’s eyes are related to the geometry of the perfect Universal Man and geometry of life, and not as Silvano Venceti contends in his book, about the identity of the subject..
Historical discoveries within the Mona Lisa, the Virgin and Child with the Infant John the Baptist and St. Anne, at the National Gallery London, and Salvator Mundi (saviour of the World) once part of the de Gany collection, along with many other masterpieces
by Leonardo da Vinci, to be published in first of its kind Novel called:
Leonardo da Vinci
Pictures with Pictures,
outside the Frame, outside the Box.
Founder, Michael W. Domoretsky
Leonardo, da Vinci Research Group
All work is Copyrighted Protected 2000-2012- may not be used in any way, manor, or form, without written permission by owner,
Thank you, Leonardo, da Vinci Research Group
Cercate e troverete !
