Years 1480-1499
Except otherwise stated, all results include the premium.
See also : Ancient painting Ancient drawing Christianity The Man Madonna and Child Italy Ming Chinese porcelain Ming porcelain Bird
See also : Ancient painting Ancient drawing Christianity The Man Madonna and Child Italy Ming Chinese porcelain Ming porcelain Bird
BOTTICELLI
1
1480 Young Man holding a Roundel
2021 SOLD for $ 92M by Sotheby's
Botticelli painted two works in a mixed technique of great originality. A man holds with both hands a round image which he proudly shows to visitors. This medallion is an additive piece that has been inserted into the wood of the painting.
The earliest is a 58 x 44 cm tempera painted around 1474, kept in the Uffizi Gallery. The added element is a gilded gesso medal bearing the effigy of Cosimo de Medici. The second, 58 x 39 cm tempera painted around 1480, was sold for $ 92M by Sotheby's on January 28, 2021, lot 15. Its added element is an icon of an elderly bearded saint painted on a gold background.
In both cases, there is no doubt that Botticelli designed and made the recess in the wood to place the insert. The position of the fingers around the added object is very precise. However, we can legitimately question if the currently inserted piece is original.
Cosimo's medal probably meets the artist's original intention. The Quattrocento portraits are painted with great care in the physiognomy, but also with elements that symbolize the social position, character or life of the model. The Lady with an Ermine painted by Leonardo in 1489 is a perfect example. The medal inserted in Botticelli's painting is a tribute of the model to the founder of the political power of the Medici.
The image of the bearded saint is an authentic fragment of a Sienese painting from the Trecento. The absence of an attribute to identify the saint is an anomaly if we consider the importance given to it by its holder. It may have been inserted later to replace another detached or damaged image.
Beyond these doubts, both paintings are direct witnesses of the iconographic inventiveness of one of the greatest masters of the Quattrocento.
The portrait of the young man holding the icon is in an exceptional state of conservation. This unidentified prince is sympathetic by his desire to have his medallion admired. His attitude is straight. The dark mauve pigment of the tunic is luxurious and rare.
The image is shared by Wikimedia.
Response by Grok :
Quote
Sotheby's @Sothebys Jan 28, 2021
#AuctionUpdate: Sandro Botticelli’s masterpiece Young Man Holding a Roundel, one of the most significant portraits of any period ever to appear at auction, and a defining work of the Florentine Renaissance achieves $92.2 million -- a new auction record for the artist
The earliest is a 58 x 44 cm tempera painted around 1474, kept in the Uffizi Gallery. The added element is a gilded gesso medal bearing the effigy of Cosimo de Medici. The second, 58 x 39 cm tempera painted around 1480, was sold for $ 92M by Sotheby's on January 28, 2021, lot 15. Its added element is an icon of an elderly bearded saint painted on a gold background.
In both cases, there is no doubt that Botticelli designed and made the recess in the wood to place the insert. The position of the fingers around the added object is very precise. However, we can legitimately question if the currently inserted piece is original.
Cosimo's medal probably meets the artist's original intention. The Quattrocento portraits are painted with great care in the physiognomy, but also with elements that symbolize the social position, character or life of the model. The Lady with an Ermine painted by Leonardo in 1489 is a perfect example. The medal inserted in Botticelli's painting is a tribute of the model to the founder of the political power of the Medici.
The image of the bearded saint is an authentic fragment of a Sienese painting from the Trecento. The absence of an attribute to identify the saint is an anomaly if we consider the importance given to it by its holder. It may have been inserted later to replace another detached or damaged image.
Beyond these doubts, both paintings are direct witnesses of the iconographic inventiveness of one of the greatest masters of the Quattrocento.
The portrait of the young man holding the icon is in an exceptional state of conservation. This unidentified prince is sympathetic by his desire to have his medallion admired. His attitude is straight. The dark mauve pigment of the tunic is luxurious and rare.
The image is shared by Wikimedia.
Response by Grok :
Quote
Sotheby's @Sothebys Jan 28, 2021
#AuctionUpdate: Sandro Botticelli’s masterpiece Young Man Holding a Roundel, one of the most significant portraits of any period ever to appear at auction, and a defining work of the Florentine Renaissance achieves $92.2 million -- a new auction record for the artist
- The sale of Sandro Botticelli’s "Young Man Holding a Roundel" for $92.2 million in January 2021 set a record for the artist, reflecting the rarity of his works hitting the market, with only a handful of his paintings auctioned in the past century, as noted in a 2021 Sotheby’s analysis.
- This artwork, created around 1480 during the Florentine Renaissance, showcases Botticelli’s linear style influenced by the Medici family’s patronage, a period when Florence became a hub for artistic innovation, supported by economic prosperity from trade and banking, per historical records from the Uffizi Gallery.
- The auction sparked debate on cultural heritage, with some arguing its sale abroad (likely to a private collector) diminishes public access, aligning with a 2019 UNESCO report highlighting how 70% of global art auctions involve works leaving their country of origin.
2
masterpiece
1481 Madonna of the Magnificat
Uffizi
The Madonna of the Magnificat is a 118 cm tondo panel painted in tempera ca 1481 by Botticelli and kept at the Galleria degli Uffizi. The image is shared by Wikimedia.
Tondi were a fashion of the time for a private devotion and contemplation above eye level. Botticelli managed to have the lines modified to match a perfect view in that position.
The Madonna and Child are surrounded by five angels, two of them holding a crown over Mary's head. The Child raises his head to look at the crown and puts his hand on an illuminated book. The text of the book is identified as two canticles from the Gospel of Luke.
The Madonna holds a quill to write the left page which is the opening of the Magnificat also referred as the Song of Mary. The left hands of Mother and Child join to hold a pomegranate, the heart shaped symbol of the Passion. That co-ordinated movement of the two hands of the two leading characters is beautiful.
Grok thought :
Quote
EUROPEAN ART @EuropeanArtHIST Oct 31, 2018
The Madonna of the Magnificat, Italian: Madonna del Magnificat, is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is now in the galleries of the Uffizi, in Florence. #Botticelli #Magnificat
Tondi were a fashion of the time for a private devotion and contemplation above eye level. Botticelli managed to have the lines modified to match a perfect view in that position.
The Madonna and Child are surrounded by five angels, two of them holding a crown over Mary's head. The Child raises his head to look at the crown and puts his hand on an illuminated book. The text of the book is identified as two canticles from the Gospel of Luke.
The Madonna holds a quill to write the left page which is the opening of the Magnificat also referred as the Song of Mary. The left hands of Mother and Child join to hold a pomegranate, the heart shaped symbol of the Passion. That co-ordinated movement of the two hands of the two leading characters is beautiful.
Grok thought :
Quote
EUROPEAN ART @EuropeanArtHIST Oct 31, 2018
The Madonna of the Magnificat, Italian: Madonna del Magnificat, is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is now in the galleries of the Uffizi, in Florence. #Botticelli #Magnificat
- The post shares Sandro Botticelli's 1481 tondo "Madonna of the Magnificat," housed in Florence's Uffizi Gallery, showing the Virgin Mary composing her biblical canticle while two angels crown her and baby Jesus holds a pomegranate symbolizing resurrection.
- Surrounding figures include ethereal angels and two youths on the left, likely portraits of Medici brothers Lorenzo and Giuliano de' Medici, blending religious devotion with Florentine patronage and humanist portraiture.
- Botticelli's circular format and flowing drapery in this devotional work reflect late 15th-century trends for intimate home altarpieces, influencing later movements like the Pre-Raphaelites through its poetic grace and symbolic depth.
2 bis
later 1480s Madonna of the Magnificat, Replica
2022 SOLD for $ 48M by Christie's
On November 9, 2022, Christie's sold for $ 48M a replica of the Madonna of the Magnificat, lot 25.
This tempera, oil and gold on a 63 cm tondo panel is largely autograph as evidenced by underdrawings and pentimenti revealed by infrared and x-ray inspection. The style of the lines argues for a date in the later 1480s.
The composition is simplified to match with the smaller format. The two angels and the crown have been removed, making more mystical the raised gaze of the Child. The three remaining angels are now winged.
Grok thought :
Quote
RobbReport @RobbReport Oct 8, 2022
The work, titled 'Madonna of the Magnificat', will be offered by Christie's this November. https://robbreport.com/shelter/art-collectibles/paul-allen-botticelli-painting-could-sell-for-40-million-1234757991/…
This tempera, oil and gold on a 63 cm tondo panel is largely autograph as evidenced by underdrawings and pentimenti revealed by infrared and x-ray inspection. The style of the lines argues for a date in the later 1480s.
The composition is simplified to match with the smaller format. The two angels and the crown have been removed, making more mystical the raised gaze of the Child. The three remaining angels are now winged.
Grok thought :
Quote
RobbReport @RobbReport Oct 8, 2022
The work, titled 'Madonna of the Magnificat', will be offered by Christie's this November. https://robbreport.com/shelter/art-collectibles/paul-allen-botticelli-painting-could-sell-for-40-million-1234757991/…
- The post announces Christie's November 2022 auction of Sandro Botticelli's circa 1481 tondo 'Madonna of the Magnificat,' a Renaissance devotional work showing the Virgin Mary writing her hymn while crowned by angels and holding the Christ child.
- Sourced from Microsoft co-founder Paul Allen's collection, the painting highlights Botticelli's Florentine style blending classical humanism with Christian iconography, valued for its intricate detail and emotional depth.
- It sold for $48.4 million, exceeding the $45-65 million estimate and affirming the post-pandemic surge in high-value Old Master sales, with Botticelli pieces appreciating over 20% annually per art market indices.
3
masterpiece
1482 Primavera by Botticelli
Uffizi
The image is shared by Wikimedia.
MANTEGNA
Intro
Compare Mantegna's Descent into Limbo, sold by Sotheby's on January 23, 2003, with his Cristo Morto (Pinacoteca di Brera, Milano) for defining his breakthrough in Christian iconography.
Andrea Mantegna's Descent into Limbo (c. 1492, tempera and gold on panel, sold at Sotheby's New York on January 23, 2003, for $28.5 million, now in private collection) and his Lamentation over the Dead Christ (also known as Dead Christ or Cristo Morto, c. 1480–1490, tempera on canvas, Pinacoteca di Brera, Milan) both exemplify Mantegna's radical innovations in Christian iconography during the Italian Renaissance.
Mantegna (c. 1431–1506) pioneered extreme perspective, anatomical realism, and emotional intensity, drawing from classical antiquity to humanize sacred subjects and immerse viewers directly in the narrative.
Compositional Innovations
Both works mark breakthroughs by shifting from medieval symbolic, hierarchical representations to humanistic, experiential ones:
Andrea Mantegna's Descent into Limbo (c. 1492, tempera and gold on panel, sold at Sotheby's New York on January 23, 2003, for $28.5 million, now in private collection) and his Lamentation over the Dead Christ (also known as Dead Christ or Cristo Morto, c. 1480–1490, tempera on canvas, Pinacoteca di Brera, Milan) both exemplify Mantegna's radical innovations in Christian iconography during the Italian Renaissance.
Mantegna (c. 1431–1506) pioneered extreme perspective, anatomical realism, and emotional intensity, drawing from classical antiquity to humanize sacred subjects and immerse viewers directly in the narrative.
Compositional Innovations
- In Descent into Limbo, Christ appears dynamically from behind, striding toward the mouth of a rocky cave (Limbo), holding a staff. This rear-view perspective is unprecedented in traditional depictions of the Harrowing of Hell (based on apocryphal texts like the Gospel of Nicodemus), where Christ typically faces forward or in profile. The viewer aligns with Christ's viewpoint, participating in his triumphant entry to liberate the righteous souls (e.g., Adam, Eve, and patriarchs) awaiting redemption. The composition derives from Mantegna's earlier engravings and drawings (c. 1460s–1470s), but the painted version intensifies the drama with gold highlights and veined marble-like backgrounds.
- In Dead Christ, Mantegna employs drastic foreshortening (di sotto in sù) to depict Christ's rigid, wounded body supine on a stone slab (the Stone of Unction), viewed from the feet upward. The feet are slightly reduced in size to mitigate distortion, but the effect is stark and confrontational: the viewer stands at the "foot" of the bier, gazing directly at the corpse's pallor, rigor mortis, and piercing wounds. Three mourners (Virgin Mary, St. John, and Mary Magdalene) appear in grief at the sides, but the focus remains on Christ's unidealized humanity.
Both works mark breakthroughs by shifting from medieval symbolic, hierarchical representations to humanistic, experiential ones:
- Viewer Immersion and Empathy — Traditional iconography kept sacred figures distant and idealized. Mantegna forces intimacy: in Descent, we "follow" Christ into salvation; in Dead Christ, we confront mortality head-on, evoking pathos and devotion. This anticipates later Renaissance emotional realism (e.g., in Caravaggio).
- Humanization of the Divine — Dead Christ emphasizes Christ's full incarnation and suffering (Incarnation theology), showing a cold, lifeless body with clinical detail—revolutionary for its raw realism, possibly intended for private meditation. Descent balances triumph with drama, humanizing the resurrected Christ through dynamic pose and rocky, antique-inspired setting.
- Perspective as Theological Tool — Mantegna's mastery of illusionistic perspective (influenced by Donatello and antiquity) makes these small-scale works (both intimate panels) feel monumental and participatory, redefining how Christian narratives engage the faithful.
1
masterpiece
1480-1490 Cristo Morto
Pinacoteca di Brera, Milano
The image is shared by Wikimedia.
2
1492 Descent into Limbo
2003 SOLD for $ 28.6M by Sotheby's
Andrea Mantegna was one of the most daring experimenters of the pictorial image, mixing perspective and foreshortening in an unprecedented sense of staging. In 1460 he was appointed court painter at Mantua, where his genius was recognized by the Gonzaga dynasty.
On January 23, 2003, Sotheby's sold for $ 28.6M a Descent of Christ into Limbo, tempera and gold on canvas 39 x 42 cm painted circa 1470-1475. The image is shared by Wikimedia.
This theme is rare because it is only told in apocryphal scriptures. Between the Passion and the Resurrection, Christ makes a visit to Limbo where the virtuous patriarchs wait for the Messiah to open to them the gates of Paradise, closed since the fault of Adam.
The figures are standing on two floors as if by an ingenious theater machinery. Christ is seen from the back, bent over to comfort a patriarch who comes out at mid length from the abyss. At the same level as Christ in this world of the dead, five characters pray, four on the left and one on the right. They are naked except for a modest cloth around the belt.
The composition is designed with a remarkable balance divided in its center by the stick of Christ, creating a strong narrative tension although the main character, Christ, is not recognizable. Mantegna was possibly influenced by Donatello's formal studies for the interaction between the characters. Once again his independence from the traditional Christian iconography is extraordinary for his time.
On January 23, 2003, Sotheby's sold for $ 28.6M a Descent of Christ into Limbo, tempera and gold on canvas 39 x 42 cm painted circa 1470-1475. The image is shared by Wikimedia.
This theme is rare because it is only told in apocryphal scriptures. Between the Passion and the Resurrection, Christ makes a visit to Limbo where the virtuous patriarchs wait for the Messiah to open to them the gates of Paradise, closed since the fault of Adam.
The figures are standing on two floors as if by an ingenious theater machinery. Christ is seen from the back, bent over to comfort a patriarch who comes out at mid length from the abyss. At the same level as Christ in this world of the dead, five characters pray, four on the left and one on the right. They are naked except for a modest cloth around the belt.
The composition is designed with a remarkable balance divided in its center by the stick of Christ, creating a strong narrative tension although the main character, Christ, is not recognizable. Mantegna was possibly influenced by Donatello's formal studies for the interaction between the characters. Once again his independence from the traditional Christian iconography is extraordinary for his time.
3
1486 Triumphs of Caesar
2020 SOLD for $ 11.7M by Sotheby's
From 1460 Andrea Mantegna was in the service of the successive marquis of Mantua, of the Gonzaga dynasty. His genius far ahead of his time is recognized by his patrons, giving him a facility for new experiences on proportions and perspective.
One of his most important achievements is the series of the Triumphs of Caesar. Nine tempera paintings were made in a unique format 268 x 278 cm. A tenth image is known from an engraving. The realization lasted several years. It was sufficiently advanced in 1486 to be praised by the Duke of Ferrara.
These paintings were conceived as a narrative suite, with a homogeneity in the position of the light. We do not know however in what chronology they were painted. Acquired by King Charles I, this monumental set is exhibited in a row at Hampton Court.
A preparatory drawing for the second opus has just surfaced. Measuring 26.6 x 26.6 cm, it is an exact 1:10 scale. The hero on horseback passes between two monumental statues which are an Aesculapius standing on a carriage and a head of Cybele.
This drawing has a role of demonstration before the realization of the painting. The inscriptions identifying Aesculapius at the top of the carriage and Alexandria under the round tower were not copied in the final work. The banner texts have changed. Divo Iulio Aug ... became Imp Iulio Caesari ob Galliam devict in a reference to the First Italian War. A competent condottiero, the marchese Francesco II Gonzaga was in 1495 the governor general of the armies of the League of Venice against the new 'Gallic' invader.
The infrared inspection of the drawing, carried out by Sotheby's, revealed important reworks skillfully masked in the line, confirming that the work is autograph. The tall Aesculapius thus hides a previous Apollo whose much smaller dimension could be mingled with the characters of the action. The invocation of Aesculapius in a triumph, maintained in the painting, is a fancy.
This drawing was sold for $ 11.7M by Sotheby's on January 29, 2020, lot 19. Please watch the video shared by Sotheby's in which the artwork is commented by the specialist Cristiana Romalli who was the discoverer of the hidden figures.
One of his most important achievements is the series of the Triumphs of Caesar. Nine tempera paintings were made in a unique format 268 x 278 cm. A tenth image is known from an engraving. The realization lasted several years. It was sufficiently advanced in 1486 to be praised by the Duke of Ferrara.
These paintings were conceived as a narrative suite, with a homogeneity in the position of the light. We do not know however in what chronology they were painted. Acquired by King Charles I, this monumental set is exhibited in a row at Hampton Court.
A preparatory drawing for the second opus has just surfaced. Measuring 26.6 x 26.6 cm, it is an exact 1:10 scale. The hero on horseback passes between two monumental statues which are an Aesculapius standing on a carriage and a head of Cybele.
This drawing has a role of demonstration before the realization of the painting. The inscriptions identifying Aesculapius at the top of the carriage and Alexandria under the round tower were not copied in the final work. The banner texts have changed. Divo Iulio Aug ... became Imp Iulio Caesari ob Galliam devict in a reference to the First Italian War. A competent condottiero, the marchese Francesco II Gonzaga was in 1495 the governor general of the armies of the League of Venice against the new 'Gallic' invader.
The infrared inspection of the drawing, carried out by Sotheby's, revealed important reworks skillfully masked in the line, confirming that the work is autograph. The tall Aesculapius thus hides a previous Apollo whose much smaller dimension could be mingled with the characters of the action. The invocation of Aesculapius in a triumph, maintained in the painting, is a fancy.
This drawing was sold for $ 11.7M by Sotheby's on January 29, 2020, lot 19. Please watch the video shared by Sotheby's in which the artwork is commented by the specialist Cristiana Romalli who was the discoverer of the hidden figures.
#AuctionUpdate: Andrea Mantegna’s only preparatory drawing for one of the canvases in the Triumphs of Caesar, realizes $11.7 million - a new record for a drawing by the artist at auction, and the 5th highest price for a drawing ever at auction pic.twitter.com/p6e3THFEU6
— Sotheby's (@Sothebys) January 29, 2020
LEONARDO
Intro
Leonardo da Vinci : inspirations, breakthroughs. Legacy in art, science and culture.
Leonardo da Vinci (1452–1519) stands as one of history's greatest polymaths, embodying the Renaissance ideal of the "universal man." Born in Vinci, Tuscany, he excelled across painting, drawing, sculpture, anatomy, engineering, architecture, optics, hydrodynamics, and more. His curiosity-driven approach—observing nature meticulously and blending empirical study with imagination—defined his work.
Inspirations
Leonardo drew inspiration from diverse sources that fueled his interdisciplinary genius:
Breakthroughs
Leonardo's innovations were visionary, often centuries ahead of realization.In art:
Mona Lisa (c. 1503–1519) exemplifies his artistic breakthroughs in realism, psychological depth, and subtle technique.
The Last Supper (c. 1495–1498) innovated in perspective, emotional grouping, and dramatic storytelling.
Vitruvian Man (c. 1490) merges art, anatomy, and geometry to illustrate ideal human proportions.
Sketches of flying machines are showcasing his engineering imagination.
Legacy in Art, Science, and CultureLeonardo's impact endures profoundly:
Leonardo da Vinci (1452–1519) stands as one of history's greatest polymaths, embodying the Renaissance ideal of the "universal man." Born in Vinci, Tuscany, he excelled across painting, drawing, sculpture, anatomy, engineering, architecture, optics, hydrodynamics, and more. His curiosity-driven approach—observing nature meticulously and blending empirical study with imagination—defined his work.
Inspirations
Leonardo drew inspiration from diverse sources that fueled his interdisciplinary genius:
- Nature and the Tuscan landscape — Growing up in rural Vinci, the hills, rivers, and wildlife sparked his lifelong fascination with natural phenomena, from water flow to bird flight and human anatomy.
- Classical antiquity — He studied ancient texts, notably Vitruvius's De Architectura, which influenced his famous Vitruvian Man drawing exploring ideal human proportions based on Roman architectural principles.
- Mentors and contemporaries — As an apprentice in Andrea del Verrocchio's Florence workshop (around 1466–1476), he absorbed technical skills in painting, sculpture, and mechanics. Patron Lorenzo de' Medici exposed him to humanist circles, philosophy, and classical learning. He also engaged with (and rivaled) figures like Michelangelo.
- Scientific observation — Leonardo rejected purely book-based knowledge, prioritizing direct experience—dissecting cadavers, experimenting with optics, and studying motion—to understand the world.
Breakthroughs
Leonardo's innovations were visionary, often centuries ahead of realization.In art:
- Pioneered sfumato (subtle blending of tones without harsh lines) for lifelike transitions, as seen in the enigmatic smile and atmospheric depth of the Mona Lisa.
- Mastered linear perspective, chiaroscuro (light-dark contrast), and emotional expression, revolutionizing portraiture and narrative composition.
- Anatomy — Conducted over 30 human dissections, producing highly accurate drawings of muscles, bones, organs, and systems (e.g., heart valves, fetus in womb) that corrected ancient errors and anticipated modern understanding.
- Engineering and mechanics — Designed concepts for machines including ornithopters (flying machines with flapping wings), a helical airscrew (early helicopter prototype), parachute, armored tank, giant crossbow, self-supporting bridge, and diving equipment.
- Hydraulics and geology — Advanced understanding of water flow, erosion, and fossils; proposed accurate explanations for Earth's geological history.
- Optics and other fields — Studied light refraction, camera obscura principles, and even early ideas in astronomy and mathematics.
Mona Lisa (c. 1503–1519) exemplifies his artistic breakthroughs in realism, psychological depth, and subtle technique.
The Last Supper (c. 1495–1498) innovated in perspective, emotional grouping, and dramatic storytelling.
Vitruvian Man (c. 1490) merges art, anatomy, and geometry to illustrate ideal human proportions.
Sketches of flying machines are showcasing his engineering imagination.
Legacy in Art, Science, and CultureLeonardo's impact endures profoundly:
- Art — His techniques (sfumato, perspective, emotional realism) influenced the High Renaissance and later movements. The Mona Lisa and Last Supper rank among the most famous and analyzed artworks ever, symbolizing mystery and mastery.
- Science — His notebooks (over 7,000 pages, written in mirror script) reveal prescient insights in anatomy, engineering, and natural philosophy. Though unpublished in his lifetime, they anticipated developments in fields like fluid dynamics, aeronautics, and cardiology.
- Culture — He epitomizes the Renaissance humanist ideal: curiosity, interdisciplinary thinking, and blending beauty with knowledge. Today, he inspires innovators in STEAM (Science, Technology, Engineering, Arts, Math), bio-inspired design, and creative problem-solving. His life represents the pursuit of universal understanding, influencing education, museums, literature (e.g., The Da Vinci Code), and popular views of genius.
1
1480s Head of a Bear
2021 SOLD for £ 8.9M by Christie's
Leonardo da Vinci needs animals to populate the stagings of his painting. He tries an unprecedented realism of the pose of live animals in his preparatory drawings. He uses the highly accurate technique of the silverpoint for that purpose.
On July 8, 2021, Christie's sold for £ 8.9M the drawing of the head of a bear made by Leonardo in the 1480s, lot 20. This piece is a silverpoint on 7 x 7 cm pink-beige prepared paper with top corners cut.
No bear is known to appear in Leonardo's paintings. Nevertheless this drawing was certainly used as a preparatory sketch for the pet stoat when he designed the Lady with an ermine at the end of the same decade.
On July 8, 2021, Christie's sold for £ 8.9M the drawing of the head of a bear made by Leonardo in the 1480s, lot 20. This piece is a silverpoint on 7 x 7 cm pink-beige prepared paper with top corners cut.
No bear is known to appear in Leonardo's paintings. Nevertheless this drawing was certainly used as a preparatory sketch for the pet stoat when he designed the Lady with an ermine at the end of the same decade.
#AuctionUpdate Leonardo da Vinci's 'Head of a bear' achieved £8,857,500 in The Exceptional Sale, setting a new #WorldAuctionRecord for a drawing by the artist. The drawing is an exquisite demonstration of #LeonardodaVinci's unsurpassed mastery as a draughtsman. #ClassicWeekLondon pic.twitter.com/d0Ja2Ualub
— Christie's (@ChristiesInc) July 8, 2021
2
masterpiece
1490 Vitruvian Man
Gallerie dell'Accademia, Venice
The Vitruvian Man (Italian: L'uomo vitruviano), created by Leonardo da Vinci around c. 1490, is one of the most iconic drawings in art and science history. This pen-and-ink study on paper (with some watercolor touches) measures approximately 34.4 × 24.5 cm (13.5 × 9.6 inches) and illustrates Leonardo's deep investigation into ideal human proportions, geometry, and the harmony between man and the cosmos.
Creation and Context
Leonardo produced the drawing during his time in Milan or shortly before/after, as part of his extensive anatomical and mathematical studies. It draws directly from the writings of the Roman architect Vitruvius (1st century BC), whose treatise De Architectura (On Architecture) describes how the human body can serve as the model for perfect architectural proportions. Vitruvius claimed the outstretched arms and legs of a man fit exactly within a circle and a square.Leonardo went further: he meticulously measured and corrected these ancient ratios based on his own observations of real human bodies (from live models and early dissections), refining them into what he saw as universal harmony.
Visual Composition and Key Details
The drawing depicts a nude male figure in two superimposed positions:
Leonardo added extensive notes in mirror writing (readable only in a mirror), explaining the proportions, citing Vitruvius, and discussing how the body relates to both geometry and architecture. The text blends observation, mathematics, and philosophy.
Symbolism and Deeper Meaning
The Vitruvian Man transcends a mere anatomical study:
The drawing is held in the permanent collection of the Gallerie dell'Accademia in Venice, Italy, where it has been since the early 19th century (acquired after passing through various private collections, including those of Venetian nobility). Due to its extreme fragility (ink on fragile paper), it is rarely displayed publicly and is kept in controlled conditions to prevent light damage. It was notably exhibited in 2019 for the 500th anniversary of Leonardo's death.The work has become a cultural icon, appearing in everything from textbooks and logos to popular media, symbolizing genius, proportion, and the fusion of art and science.Leonardo's Vitruvian Man remains a profound testament to his quest for understanding the "measure of man" in both literal and philosophical terms.
Creation and Context
Leonardo produced the drawing during his time in Milan or shortly before/after, as part of his extensive anatomical and mathematical studies. It draws directly from the writings of the Roman architect Vitruvius (1st century BC), whose treatise De Architectura (On Architecture) describes how the human body can serve as the model for perfect architectural proportions. Vitruvius claimed the outstretched arms and legs of a man fit exactly within a circle and a square.Leonardo went further: he meticulously measured and corrected these ancient ratios based on his own observations of real human bodies (from live models and early dissections), refining them into what he saw as universal harmony.
Visual Composition and Key Details
The drawing depicts a nude male figure in two superimposed positions:
- Arms and legs spread wide (forming a sort of "X" shape).
- Arms raised horizontally and legs together (forming a more upright "cruciform" pose).
- A circle (centered at the navel, symbolizing the cosmic or divine order).
- A square (aligned with the figure's extremities, representing earthly or material order).
- The height of the man equals the span of his outstretched arms (arm span = height).
- The distance from the sole of the foot to below the knee = 1/4 of height.
- From below the knee to the navel = 1/4 of height.
- From navel to top of head = 1/4 of height.
- The navel is the center of the circle.
- The breadth of the shoulders ≈ 1/4 of height.
- The face (from chin to hairline) is 1/10 of the total height.
- The hand (from wrist to fingertip) is 1/10 of height.
Leonardo added extensive notes in mirror writing (readable only in a mirror), explaining the proportions, citing Vitruvius, and discussing how the body relates to both geometry and architecture. The text blends observation, mathematics, and philosophy.
Symbolism and Deeper Meaning
The Vitruvian Man transcends a mere anatomical study:
- It represents the Renaissance ideal of humanism — man as the measure of all things, bridging microcosm (the body) and macrocosm (the universe).
- The circle and square symbolize the union of heavenly/divine (circle, eternal and infinite) and earthly/material (square, finite and stable) realms.
- It embodies Leonardo's belief in the interconnectedness of art, science, mathematics, and nature — using empirical study to reveal universal truths.
- Some interpretations see it as a symbol of balance, harmony, and the potential perfection of humanity.
The drawing is held in the permanent collection of the Gallerie dell'Accademia in Venice, Italy, where it has been since the early 19th century (acquired after passing through various private collections, including those of Venetian nobility). Due to its extreme fragility (ink on fragile paper), it is rarely displayed publicly and is kept in controlled conditions to prevent light damage. It was notably exhibited in 2019 for the 500th anniversary of Leonardo's death.The work has become a cultural icon, appearing in everything from textbooks and logos to popular media, symbolizing genius, proportion, and the fusion of art and science.Leonardo's Vitruvian Man remains a profound testament to his quest for understanding the "measure of man" in both literal and philosophical terms.
3
masterpiece
1495-1498 Ultima Cena by Leonardo
Santa Maria delle Grazie, Milano
The image is shared by Wikimedia.
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Classical Art @SeekAfterBeauty Aug 31
The Last Supper (1498), by Leonardo da Vinci
Grok thought :
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Classical Art @SeekAfterBeauty Aug 31
The Last Supper (1498), by Leonardo da Vinci
- This post by @SeekAfterBeauty features Leonardo da Vinci's "The Last Supper" (c. 1495–1498), a mural in Milan's Santa Maria delle Grazie depicting Jesus's final meal with apostles, celebrated for its pioneering linear perspective and psychological depth in capturing betrayal.
- Commissioned by Ludovico Sforza, Duke of Milan, as a tribute to his wife Beatrice d'Este, the painting was placed in a monastery refectory to inspire monks during meals, blending religious symbolism with Renaissance humanism.
- Despite its fame, da Vinci's experimental tempera-on-dry-plaster technique caused rapid deterioration; a 1999 restoration revealed original details, while a 1502 French invasion attempt to excise and relocate the wall failed, preserving it in situ.
< 1485 CE Chenghua
1
Chicken Cup
2014 SOLD for HK$ 280M by Sotheby's
In 1464 CE, Chenghua became the eighth Ming Emperor. Politically dominated by his eunuchs and socially by his concubines, he did not leave an indelible mark in history during this reign that lasted 24 years. Inactive after the reign of Xuande, the Jingdezhen kilns were reactivated three decades later by Chenghua.
The blue and white in two hues of the beginning looks similar as Yuan and early Ming styles. The most recent technical innovation is then the doucai, by which other colors could be added through a second firing.
The best period of Chenghua porcelains is the second decade of his reign with the unique technique of the so-called palace bowls. Improvements are made to the choice of materials, enabling a higher temperature.
These pieces are innovative by the extreme care in realizing the porcelain with a dense paste, a transparent and robust glaze, providing a tactile quality that will never be available again.
The doucai color also gets some spectacular progress. Mixing enameled colors over the glaze allows a wide range of shades. The gently curved shapes of their walls are also new, in several variants.
Cups are used for wine and bowls for food. These pieces bearing the imperial mark are mainly made for the use of the principal concubine Wan Guifei whose demands were evidently extreme. They are highly rare and not even found as failed or waste pieces, demonstrating the rigorous surveillance made on site in Jingdezhen by imperial eunuchs.
This limited production was so expensive that the emperor's advisers were able to stop it after about ten years, during the 20th year of the reign corresponding to 1485 CE, two years before the death of the emperor and his concubine.
The drawing is innovative with asymmetrical compositions often adorned with spirals. The chicken cups are prestigious. Bowls are decorated with delicacy and simplicity, with flowers or fruits of botanical accuracy.
The figures of Chenghua ceramics are simple and naive. However, his chicken wine cups had an almost mystical reputation. The rooster is the emperor, and the hen protecting her chicks is his favorite concubine. Wan Guifei herself intervened to improve the quality of imperial porcelains.
One of these wonders is in perfect condition, on a pristine white background, without any crack or scratch. This piece 8.2 cm in diameter is decorated underglaze in cobalt blue and multicolored on its surface.
It was sold for HK $ 29M on April 27, 1999 by Sotheby's, purchased at that sale by Eskenazi. It was sold by Sotheby's on April 8, 2014 for HK $ 280M from a lower estimate of HK $ 200M. Please watch the video shared by the auction house.
380 years earlier the Ru of the Song had been interrupted by the Yuan invasion after only a few years. Similarly, the production of Chenghua bowls did not survive his reign. Easier to execute, the doucai had a great future and is one of the major steps that lead to the perfection of colors of the falangcai under the Qing.
The blue and white in two hues of the beginning looks similar as Yuan and early Ming styles. The most recent technical innovation is then the doucai, by which other colors could be added through a second firing.
The best period of Chenghua porcelains is the second decade of his reign with the unique technique of the so-called palace bowls. Improvements are made to the choice of materials, enabling a higher temperature.
These pieces are innovative by the extreme care in realizing the porcelain with a dense paste, a transparent and robust glaze, providing a tactile quality that will never be available again.
The doucai color also gets some spectacular progress. Mixing enameled colors over the glaze allows a wide range of shades. The gently curved shapes of their walls are also new, in several variants.
Cups are used for wine and bowls for food. These pieces bearing the imperial mark are mainly made for the use of the principal concubine Wan Guifei whose demands were evidently extreme. They are highly rare and not even found as failed or waste pieces, demonstrating the rigorous surveillance made on site in Jingdezhen by imperial eunuchs.
This limited production was so expensive that the emperor's advisers were able to stop it after about ten years, during the 20th year of the reign corresponding to 1485 CE, two years before the death of the emperor and his concubine.
The drawing is innovative with asymmetrical compositions often adorned with spirals. The chicken cups are prestigious. Bowls are decorated with delicacy and simplicity, with flowers or fruits of botanical accuracy.
The figures of Chenghua ceramics are simple and naive. However, his chicken wine cups had an almost mystical reputation. The rooster is the emperor, and the hen protecting her chicks is his favorite concubine. Wan Guifei herself intervened to improve the quality of imperial porcelains.
One of these wonders is in perfect condition, on a pristine white background, without any crack or scratch. This piece 8.2 cm in diameter is decorated underglaze in cobalt blue and multicolored on its surface.
It was sold for HK $ 29M on April 27, 1999 by Sotheby's, purchased at that sale by Eskenazi. It was sold by Sotheby's on April 8, 2014 for HK $ 280M from a lower estimate of HK $ 200M. Please watch the video shared by the auction house.
380 years earlier the Ru of the Song had been interrupted by the Yuan invasion after only a few years. Similarly, the production of Chenghua bowls did not survive his reign. Easier to execute, the doucai had a great future and is one of the major steps that lead to the perfection of colors of the falangcai under the Qing.
2
Musk Mallow Palace Bowl
2013 SOLD for HK$ 140M by Sotheby's
White porcelain from the imperial kilns in Jingdezhen was highly appreciated by the Ming. Yongle, third emperor of the dynasty, had promoted pieces in immaculate white, without slowing the progress of underglaze decoration in cobalt blue.
The "palace bowls" were produced for a very short period not exceeding 7 years, from 1481 to 1487 CE at the end of the reign of Chenghua, the seventh emperor. This utensil is by nature an object to be touched. These Chenghua bowls reach a perfection of tactility that will never be exceeded.
On October 8, 2013, Sotheby's sold a palace bowl with the Chenghua imperial mark for HK $ 140M from a lower estimate of HK $ 80M, lot 101.
It is decorated inside and outside with humble musk-mallows. It wears the Imperial mark.
The "palace bowls" were produced for a very short period not exceeding 7 years, from 1481 to 1487 CE at the end of the reign of Chenghua, the seventh emperor. This utensil is by nature an object to be touched. These Chenghua bowls reach a perfection of tactility that will never be exceeded.
On October 8, 2013, Sotheby's sold a palace bowl with the Chenghua imperial mark for HK $ 140M from a lower estimate of HK $ 80M, lot 101.
It is decorated inside and outside with humble musk-mallows. It wears the Imperial mark.
3
Melon Palace Bowl
2011 SOLD for HK$ 90M by Sotheby's
Vines of melons are a rare theme symbolizing an auspicious prosperity to the offspring.
The bowl from the Meiyintang collection with a nice balance of blue and white was sold in post sale for HK $ 90M at Sotheby's on April 7, 2011. Measuring 15 cm in diameter, it is inscribed with the six-character mark of Chenghua and decorated with melon vines including leaves and fruits.
On April 6, 2016, Sotheby's sold for HK $ 64M another melon bowl, lot 25. This piece is unique in the details of its pattern by the quantity and density of the fruit. Its size is 15.4 cm in diameter.
The bowl from the Meiyintang collection with a nice balance of blue and white was sold in post sale for HK $ 90M at Sotheby's on April 7, 2011. Measuring 15 cm in diameter, it is inscribed with the six-character mark of Chenghua and decorated with melon vines including leaves and fruits.
On April 6, 2016, Sotheby's sold for HK $ 64M another melon bowl, lot 25. This piece is unique in the details of its pattern by the quantity and density of the fruit. Its size is 15.4 cm in diameter.
1490-1492 Michelangelo after Masaccio
2022 SOLD for € 23M by Christie's
In the 1490s Michelangelo Buonarroti trained by Ghirlandaio used to copy some masterpieces of the Quattrocento for preparing his own paintings. He was specially inspired from Masaccio's fresco Baptism of the Neophytes studied by him in Santa Maria del Carmine in Florence under a Medici patronage before or after Savonarola's bonfires. This practice was recorded by his biographer Vasari in 1568.
Previously attributed to a later minor artist or to the school of Michelangelo, a drawing 33 x 20 cm in pen, two shades of brown ink and brown wash was attributed for the first time in 2019 to the master by an expert at Christie's. Its availability on the international art market had been delayed by a French export ban which is now lifted.
The main character is a full length fleshy young nude in a shivering position that copies the man in the right in Masaccio's Carmine Baptism. Two lesser figures comfort him from behind in a softer hue. Some relief effect is added by skilled hatchings. Remorses have been made with a dark ink, confirming that this piece was a study for a painting by the young master.
This drawing was sold for € 23M by Christie's on May 18, 2022, lot 1. Please watch the video shared by the auction house.
Influence of Masaccio on Michelangelo's formative years.
The drawing sold by Christie's in Paris on May 18, 2022, as lot 1 in the single-lot auction Michelangelo’s First Nude: A Drawing Rediscovered is Michelangelo Buonarroti's A nude man (after Masaccio) and two figures behind him (also titled A nude young man (after Masaccio) surrounded by two figures). Executed in pen and two shades of brown ink with brown wash (dimensions approx. 33 x 20 cm), it achieved a final sale price of €23,162,000 (including buyer's premium), setting a new auction record for any drawing by Michelangelo.
This work, dated to the late 15th century (likely around 1490–1492, during Michelangelo's formative teenage years in Florence), is widely regarded as his earliest known surviving study of a nude figure. The central figure is a direct copy after Masaccio's depiction of the shivering (or trembling) neophyte in the fresco The Baptism of the Neophytes (c. 1425–1427) from the Brancacci Chapel in Santa Maria del Carmine, Florence. Michelangelo rendered the figure in a similar pose but enhanced the musculature for greater definition and anatomical emphasis, while adding two background figures.
This drawing powerfully illustrates Masaccio's profound influence on Michelangelo's early development:
Previously attributed to a later minor artist or to the school of Michelangelo, a drawing 33 x 20 cm in pen, two shades of brown ink and brown wash was attributed for the first time in 2019 to the master by an expert at Christie's. Its availability on the international art market had been delayed by a French export ban which is now lifted.
The main character is a full length fleshy young nude in a shivering position that copies the man in the right in Masaccio's Carmine Baptism. Two lesser figures comfort him from behind in a softer hue. Some relief effect is added by skilled hatchings. Remorses have been made with a dark ink, confirming that this piece was a study for a painting by the young master.
This drawing was sold for € 23M by Christie's on May 18, 2022, lot 1. Please watch the video shared by the auction house.
Influence of Masaccio on Michelangelo's formative years.
The drawing sold by Christie's in Paris on May 18, 2022, as lot 1 in the single-lot auction Michelangelo’s First Nude: A Drawing Rediscovered is Michelangelo Buonarroti's A nude man (after Masaccio) and two figures behind him (also titled A nude young man (after Masaccio) surrounded by two figures). Executed in pen and two shades of brown ink with brown wash (dimensions approx. 33 x 20 cm), it achieved a final sale price of €23,162,000 (including buyer's premium), setting a new auction record for any drawing by Michelangelo.
This work, dated to the late 15th century (likely around 1490–1492, during Michelangelo's formative teenage years in Florence), is widely regarded as his earliest known surviving study of a nude figure. The central figure is a direct copy after Masaccio's depiction of the shivering (or trembling) neophyte in the fresco The Baptism of the Neophytes (c. 1425–1427) from the Brancacci Chapel in Santa Maria del Carmine, Florence. Michelangelo rendered the figure in a similar pose but enhanced the musculature for greater definition and anatomical emphasis, while adding two background figures.
This drawing powerfully illustrates Masaccio's profound influence on Michelangelo's early development:
- Direct copying from Masaccio's Brancacci Chapel frescoes — Michelangelo, as a young apprentice and student in Florence, frequently studied and drew from these groundbreaking early Renaissance frescoes. The Brancaci Chapel, painted by Masaccio (with contributions from Masolino), was a pilgrimage site for artists seeking to learn naturalistic figure rendering, perspective, and emotional expressiveness. Michelangelo's choice to copy the "shivering man" — a figure notable for its realistic portrayal of cold-induced contraction and vulnerability — shows his early engagement with Masaccio's innovative approach to the human body in motion and under environmental stress.
- Anatomical realism and sculptural quality — Masaccio pioneered a monumental, three-dimensional treatment of figures with strong chiaroscuro, foreshortening, and believable anatomy grounded in observation. Michelangelo absorbed this, evident in how he amplified the muscular structure in his copy, transforming Masaccio's already advanced naturalism into something more idealized and powerful — a hallmark that would define his mature style (seen later in works like the David or Sistine Chapel figures).
- Transition from Gothic to Renaissance ideals — In his formative years (c. 1489–1492), Michelangelo was exposed to the Medici Garden sculpture school under Bertoldo di Giovanni and absorbed the legacy of ancient sculpture alongside contemporary Florentine masters. However, Masaccio represented the bridge to true Renaissance figure painting. Vasari notes Michelangelo's admiration for Masaccio, recounting how the young artist spent significant time drawing from the Brancacci frescoes. This drawing exemplifies that practice: it captures Masaccio's emphasis on volume, weight, and human dignity rather than decorative linearity.
- Broader formative context — Michelangelo entered Domenico Ghirlandaio's workshop around 1488 but soon moved to the Medici circle, where access to antique works and Masaccio's innovations shaped his focus on the nude as the core of artistic expression. This early study of a nude — rare for the period outside classical contexts — foreshadows Michelangelo's lifelong obsession with the male nude as a vehicle for conveying anatomy, movement, and inner tension.
First it was Raphael making $38m; then da Vinci made $11.8m; now a rediscovered Michelangelo is looking for $33m @christiesparis this Mayhttps://t.co/oXmswtdga3 pic.twitter.com/BNt64YAPzg
— LiveArt (@artmarket) April 5, 2022
Fra BARTOLOMEO
The relationship between art and Christianity were an intense concern in Florence at the end of the glorious principate of Lorenzo de' Medici. In 1492 the dying Lorenzo had doubts about the merits of his work, and desired (but unsuccessfully) Savonarola, the preacher of repentance, as his last confessor.
Savonarola, whose memory of his bonfires horrifies current art lovers, was chasing all vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
Savonarola, whose memory of his bonfires horrifies current art lovers, was chasing all vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
1
mid 1490s Virgin and Child by Baccio della Porta
2013 SOLD for $ 13M by Christie's
On January 30, 2013, Christie's sold for $ 13M from a lower estimate of $ 10M a 65 cm tondo on the subject of Virgin and Child. This oil on panel is still remaining in its original frame. It is a recent discovery. The image is shared by Wikimedia.
It is a charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
That picture had been executed by Baccio della Porta in the mid 1490s during the iconoclastic dictatorship of Savonarola. Born in 1472, Baccio is a young artist whose skills are already recognized.
It is a charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
That picture had been executed by Baccio della Porta in the mid 1490s during the iconoclastic dictatorship of Savonarola. Born in 1472, Baccio is a young artist whose skills are already recognized.
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2
masterpiece
Portrait of Savonarola
Museum of San Marco
An avid follower of Savonarola, Baccio della Porta directs his art in accordance with the theocratic vision of his guru of whom he will also execute a famous portrait. The image is shared by Wikimedia.
Savonarola is executed in 1498. In 1500, Baccio becomes the Dominican friar Fra Bartolommeo (or Fra Bartolomeo). He then abandons his artistic creation for a long period, before brilliantly resuming his brushes at the time of Raphael.
Savonarola is executed in 1498. In 1500, Baccio becomes the Dominican friar Fra Bartolommeo (or Fra Bartolomeo). He then abandons his artistic creation for a long period, before brilliantly resuming his brushes at the time of Raphael.
masterpiece
1490-1510 The Garden of Earthly Delights by Bosch
Prado
The image is shared by Wikimedia.
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EUROPEAN ART @EuropeanArtHIST Aug 6, 2019
The Garden of Earthly Delights is the modern title given to a triptych oil painting on oak panel painted by the Early Netherlandish master Hieronymus Bosch, between 1490 and 1510, when #Bosch was between 40 and 60 years old. (Museo del Prado, Madrid)
Grok thought :
Quote
EUROPEAN ART @EuropeanArtHIST Aug 6, 2019
The Garden of Earthly Delights is the modern title given to a triptych oil painting on oak panel painted by the Early Netherlandish master Hieronymus Bosch, between 1490 and 1510, when #Bosch was between 40 and 60 years old. (Museo del Prado, Madrid)
- This 2019 thread by @EuropeanArtHIST educates on Hieronymus Bosch's "The Garden of Earthly Delights," a triptych painted around 1490-1510 that visually narrates humanity's fall from Edenic innocence through sensual excess to infernal punishment.
- The left panel depicts God's creation of Eve and paradise harmony; the central "garden" teems with bizarre, erotic scenes symbolizing temptation; the right portrays chaotic hell with inventive tortures, contrasting divine order with moral decay.
- A 2022 Yale study of the painting's underlayers uncovered Bosch's iterative process, starting with structured drawings that grew increasingly fantastical, revealing his intent to blend religious doctrine with imaginative critique of human folly.
