Painting Practice in Milan in the 1490s: The Influence of Leonardo

Marika Spring, Antonio Mazzotta, Ashok Roy, Rachel Billinge and David Peggie
Technical Bulletin Volume 32, 2011

Abstract

This article considers the practice of painters working in Milan in the 1490s, through technical examination of nine works of the period in the National Gallery by artists including the Master of the Pala Sforzesca, Ambrogio de Predis, Marco d’Oggiono, Giovanni Antonio Boltraffio and a follower known as ‘Pseudo-Boltraffio’.

They are all connected by an association with Leonardo’s sphere, either as the products of direct pupils, or as cases showing some clear contemporary Leonardesque style. The panels, preparatory layers, underdrawing, painting technique and materials are described, placed in the art-historical context of each work, and compared to what is known about the technique of paintings by Leonardo himself.

Keywords 

painting technique, Milan, 1490s, Leonardeschi, pigments, medium, panel, Boltraffio, Ambrogio de Predis, Marco d’Oggiono, Master of the Pala Sforzesca

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Painting Practice in Milan in the 1490s: The Influence of Leonardo, Marika Spring, Antonio Mazzotta, Ashok Roy, Rachel Billinge and David Peggie  (PDF 4.93MB)

 

 


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To cite this article we suggest using

Spring, M., Mazzotta, A., Roy, A., Billinge, R., Peggie, D. 'Painting Practice in Milan in the 1490s: The Influence of Leonardo'. National Gallery Technical Bulletin Vol 32, pp 78–112.
http://www.nationalgallery.org.uk/technical-bulletin/spring_mazzotta_roy_billinge_peggie2011


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