The Art Of Leonardo Opera Omnia CAFA Art Museum

The Art Of Leonardo Opera Omnia

Dates：2019-04-16 - 2019-05-23
Location：CAFA Art Museum
Opening：2019-04-16 16:00
Organizer(s)： CAFA Art Museum Istituto Italiano di Cultura di Pechino

Preface

With the original da Vinci oil paintings housed separately around the world, “The Art of Leonardo Opera Omnia” is almost an “impossible encounter” with the great Renaissance master.

The audience could examine closely da Vinci’s classic oil paintings, including The Last Supper, painted in the late 15th century and housed by the Santa Maria delle Grazie in Milan, Italy; Mona Lisa, described by French poet Théophile Gautier as a “sphinx of beauty who smiles so mysteriously”; St. John the Baptist, a perfect embodiment of the artist’s note that drew parallels between water and the curly hair; and Bacchus, Lady with an Ermine and 12 other masterpieces.

The Last Supper

Mural painting, 460 x 880 cm

Convent of Santa Maria delle Grazie, Milan, Italy

Completed in 1498

Mona Lisa

Oil on poplar panel, 77 x 53 cm

The Louvre Museum, Paris

c. 1503-1506

St. John the Baptist

Oil on walnut wood, 69 x 57 cm

The Louvre Museum, Paris

c. 1513-1516

Bacchus

Oil on walnut panel transferred to canvas, 177 x 115 cm

The Louvre Museum, Paris

1510-1515

Lady with an Ermine

Oil on wood panel, 54 x 39 cm

National Museum, Kraków, Poland

1489-1490

The exhibition will last from April 16 to May 23, 2019.

With the original da Vinci oil paintings housed separately around the world, “The Art of Leonardo Opera Omnia” is almost an “impossible encounter” with the great Renaissance master.

The Last Supper

Mural painting, 460 x 880 cm

Convent of Santa Maria delle Grazie, Milan, Italy

Completed in 1498

Mona Lisa

Oil on poplar panel, 77 x 53 cm

The Louvre Museum, Paris

c. 1503-1506

St. John the Baptist

Oil on walnut wood, 69 x 57 cm

The Louvre Museum, Paris

c. 1513-1516

Bacchus

Oil on walnut panel transferred to canvas, 177 x 115 cm

The Louvre Museum, Paris

1510-1515

Lady with an Ermine

Oil on wood panel, 54 x 39 cm

National Museum, Kraków, Poland

1489-1490

The exhibition will last from April 16 to May 23, 2019.

Artworks

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: Innovator Da Vinci: The Scientific and Technological Symbol of Renaissance | Lecture Report

2019-04-26

Professor Plinio Innocenzi of Università degli Studi di Sassari gives a lecture about Leonardo da Vinci’s scientific and technological achievements, and the Renaissance Genius’ relationship with his time’s scientific development. This is the second lecture of The Art of Leonardo Opera Omnia Exhibition series.
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: Leonardo and Anatomy | Lecture Report

2019-04-30

The lecture featured two speakers, Dr. Giampaolo Ghilardi and Dr. Nicola Di Stefano, both experts in the research of da Vinci’s anatomical drawings from Italy.
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: Revealing the sfumato Technique of Leonardo da Vinci by X‐Ray Fluorescence Spectroscopy

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Non‐invasive X‐ray fluorescence spectroscopy was used to reveal the sfumato paint layer stacking method that was used by Leonardo da Vinci to paint the faces in seven of his paintings. A strong diversity in his technique could clearly be seen with this method.
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: Techniques and Secrets behind The Last Supper | Lecture Report

2019-05-15

Mr. Mario Taddei, chief researcher at the Leonardo3 Museum and Research Center, shared his research results on Leonardo da Vinci’s masterpiece The Last Supper at CAFAM.
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: Lecture Report | Da Vinci and Treatise on Painting

2019-08-18

Treatise on Painting (Trattato della pittura) is the only collection of Leonardo da Vinci’s that has been published. It is a key to understanding Da Vinci’s diverse research. On June 12, 2019, Prof. Carlo Vecce, renowned Italian scholar in Renaissance literature and an authority on the study of Da Vinci, gave a lecture about the collection at CAFAM.According To Prof. Vecce, Da Vinci’s manuscript is the key to understanding his works and ideas. While Da Vinci only left us a limited number of paintings - only 10 to 15 works are confirmed to be painted by him, many of which were left undone - Prof. Vecce believes that Da Vinci mostly devoted himself to reading and writing. The manuscript is the result of his research on machinery and anatomy, etc.Leonardo da Vinci, 1452-1519It is noted that for nearly hree centuries after Da Vinci’s death in 1519, his manuscripts remained undiscovered. The manuscript existed in a scattered, disordered form - research on hydrology, geometry, anatomy and painting could appear on the same page. For many times, Da Vinci had thought about writing books logically - he had even listed contents for some books - but he never completed one.The only book of his - Treatise on Painting - was successfully published in Europe thanks to his apprentice Francesco Melzi, who, according to Prof. Vecce, was chosen by Da Vinci because he wanted him to organize his manuscripts. Melzi continued the compilation after his teacher’s death, and brought into being the Codex Urbinas, which is later known as Treatise on Painting.Francesco Melzi, 1491-1568/70Prof. Vecce continued to introduce the contents of the book. Beginning with Da Vinci’s idea that painting is not only an art creation, but also science and cognitive process, the book was divided by Melzi into eight chapters, which respectively talked about:1) Painting is a science, and an art form most close to the nature;2) Rules for painters;3) Motion, changes and proportion of figures;4) On painting clothing;5) On chiaroscuro (Da Vinci’s invented this term in his manuscript);6-8) On other elements involved with painting, mainly on trees, clouds and horizons;The first page of Treatise on PaintingAccording to Prof. Vecce, the Treatise on Painting compiled 18 of Da Vinci’s manuscripts. He once compared the book with the manuscripts, and found out that many paragraphs in the book were lost in the manuscripts. This highlights the significance of Melzi’s work.The book brought Da Vinci’s idea to wider audience in Europe in the 17th century. But it should be noted that the framework of the book was organized by Melzi, instead of Da Vinci himself, and Prof. Vecce believes that we need the original manuscripts to really understand how Da Vinci’s ideas on painting were developed.From the manuscripts we can tell that proportion of human bodies is one of the earliest research topic of Da Vinci’s. What’s more, Da Vinci usually wrote text along with illustrations, and Prof. Vecce believes it means he habitually think visually. Another character of Da Vinci’s manuscripts is the typological character, for example he would list all possible kinds of hand gestures on one page, or all forms of nose.Da Vinci's manuscriptFor a long time, painting was regarded as an inferior labor, but Da Vinci tried to demonstrate in his manuscripts that painting is a higher form of art than any other forms, because painting was supposed to present truth, and in order to present it one must first understand it. He highlighted that painting is science and cognitive process. According to Prof. Vecce, it is because of the Treatise on Painting that we can learn what painting means to Da Vinci.Time: June 12, 2019Venue: CAFAM Lecture HallSpeaker: Carlo Vecce, professor of Italian Literature in the University of Naples “L’Orientale”, renowned Italian scholar in Renaissance literature and history of civilizationPresenter: Gao Gao, Director Assistant of CAFAMLecture PhotosPhotos of artworks are provided by Prof. Carlo VecceCompiled by Lu YufanPhoto by Li Biao
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CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.