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“Why is a Leonardo in a Modern and Contemporary auction? Not only does it look like a dreamed-up version of a missing da Vinci, various X-ray techniques show scratches and gouges in the work, paint missing, a warping board, a beard here and gone, and other parts of the painting obviously brushed up and corrected to make this probable copy look more like an original.
) and is a portrait of a smoky floating man in a blue robe looking at us, raising his right hand in blessing, holding a crystal orb in his left hand, pictured against a black background.
This explains why Christie’s pitches it with vague terms like “mysterious,” filled with “aura,” and something that “could go viral.” Go viral? There is also not a single painting picturing an individual Jesus either.
All of his paintings, even single portraits, depict figures in far more complex poses.
It makes no sense to suddenly have Leonardo come to Florence only to become a hack painter of post-Byzantine portraits — which is what the narrative being promoted by Christie’s subtly suggests.
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Leonardo, who was nothing if not an inventor every time out, would have been laughed out of Italy.
By 1500, Michelangelo had already completed his tremendous . It’s hard to imagine that da Vinci coming to Florence and being around the young Michelangelo — who was being hailed as “the new da Vinci” — would suddenly put the pictorial brakes on and produce a far more conservative, backward-looking picture.