Today over at The Federalist, check out my latest for them: a review of the new Van Dyck exhibition at The Frick Collection in New York. My thanks to Ben Domenech, Joy Pullman, and everyone at The Federalist for their continued encouragement and support. I’m deeply grateful that they continue to allow me the opportunity to share some of my thoughts with their readers.
As a child, I was always fascinated by a famous portrait drawing of Isabella d’Este by Leonardo da Vinci. A reproduction of the drawing, which is presently in The Louvre, illustrated a section about the d’Este sisters in a large book about the Italian Renaissance. While the accompanying portrait of Beatrice, supposedly the more beautiful of the two, left me unimpressed as to either beauty or technical skill, I found the near-contemporaneous portrait by Leonardo absolutely captivating. While not as pretty as her sister, Isabella in her portrait seemed to be the deeper soul, more interesting and more immediate, her portrait looking like a faded photograph.
So it was particularly fascinating to read that authorities have recovered what at least one expert believes to be the finished Leonardo portrait of Isabella d’Este, of which The Louvre drawing would be a preparatory sketch. The work, which had been in Rome but was later moved to a bank vault in Switzerland, was at the point of being illegally sold when it was seized. Italian law is extremely strict when it comes to works of art leaving the country, and the owners of this work had not obtained either permission to send the work abroad, nor an export license to sell it.
Looking at the painting itself, while one can immediately spot the similarity to the Leonardo drawing of Isabella d’Este, the finished work is somewhat different in appearance. It is obscured by what, to many eyes, may seem unusual add-ons. Unlike the image of Isabella in the drawing, the figure in the painting is wearing a diadem, and rests her right arm, which is holding a palm branch, atop what appears to be a wheel.
For those of my readers who are fellow Catholics, or who are familiar with Christian iconography, these attributes will immediately identity the figure not as Isabella d’Este, but as St. Catherine of Alexandria. A popular subject in Italian Renaissance art, Catherine was a princess martyred in the 4th century persecutions of the Emperor Maxentius, hence the crown of a princess and the palm of a martyr. One of the instruments of her torture before her death was a spiked wheel [ N.B. which is where the spinning firework known as a “Catherine Wheel” got its name.]
While this may seem an odd thing to have happened to the portrait of one of the most famous women of the Renaissance, such “makeovers” were not unusual in art history. The most obvious example would be the placement of strategic plaster fig leaves over the genitalia of nude sculptures, but even in painting, when a work seemed to be dingy or in need of a facelift, an owner or a dealer might have the piece repainted to turn it into something more appealing to a particular buyer.
Discoveries of long-missing masterworks beneath centuries of overpaint still occur on a regular basis. However, rediscovering a major painting by Leonardo da Vinci would be quite the coup, if this work is eventually authenticated. Personally, I am suspicious, for two reasons.
First, whereas much of the 20th century was spent by art historians debunking overly-optimistic attributions of Old Master paintings and sculptures to famous artists, since the beginning of the 21st century we seem to have been heading headlong in the opposite direction. We have been rediscovering lost paintings and sculptures by the great names of Western art all over the place. Is this because of our access to improved technology and greater levels of scholarly collaboration on an international basis, or is there some other explanation?
Second, while it is difficult to make a judgment from a single photograph, to me the painting looks wrong. The one thing which da Vinci did better than anyone else was hands. Look at the panoply of hands in his Last Supper, even in its sorry current state, and you will see what I mean. Isabella’s hand however, if this is indeed her portrait, is awkward. Her unnaturally long index finger doesn’t seem to point so much as bounce uncomfortably in the breeze, like a tree branch about to snap. Her curled fingers are too stumpy to be part of the same hand that would hold such an enormous finger.
Of course, I am perfectly happy to be proven wrong. If this is a missing Leonardo, the final product of a project whose preparation was so well-known, then with proper cleaning and restoration, it would be of immense importance in art history. In the meantime, we shall have to wait and see what science tells us.