An epic quest exposes hidden truths about Leonardo da Vinci’s Salvator Mundi, the recently discovered masterpiece that sold for $450 million—and might not be the real thing. In 2017, Leonardo da Vinci’s small oil painting the Salvator Mundi was sold at auction. In the words of its discoverer, the image of Christ as savior of the world is “the rarest thing on the planet.” Its $450 million sale price also makes it the world’s most expensive painting. For two centuries, art dealers had searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi by Leonardo da Vinci. Many similar paintings of greatly varying quality had been executed by Leonardo’s assistants in the early sixteenth century. But where was the original by the master himself? In November 2017, Christie’s auction house announced they had it. But did they? The Last Leonardo tells a thrilling tale of a spellbinding icon invested with the power to make or break the reputations of scholars, billionaires, kings, and sheikhs. Ben Lewis takes us to Leonardo’s studio in Renaissance Italy; to the court of Charles I and the English Civil War; to Amsterdam, Moscow, and New Orleans; to the galleries, salerooms, and restorer’s workshop as the painting slowly, painstakingly emerged from obscurity. The vicissitudes of the highly secretive art market are charted across six centuries. It is a twisting tale of geniuses and oligarchs, double-crossings and disappearances, in which we’re never quite certain what to believe. Above all, it is an adventure story about the search for lost treasure, and a quest for the truth. Praise for The Last Leonardo “The story of the world’s most expensive painting is narrated with great gusto and formidably researched detail in Ben Lewis’s book. . . . Lewis’s probings of the Salvator’s backstory raise questions about its historical status and visibility, and these lead in turn to the fundamental question of whether the painting is really an autograph work by Leonardo.”—Charles Nicholl, The Guardian “As the art historian and critic Ben Lewis shows in his forensically detailed and gripping investigation into the history, discovery and sales of the painting, establishing the truth is like nailing down jelly.”— Michael Prodger, The Sunday Times

A study of Leonardo da Vinci's Salvator Mundi, the world's most expensive painting; this volume recounts the story of the painting's modern-day discovery and restoration, but also delves into the collecting of Leonardo's works at the courts of Charles I and Charles II--éd.

A proposito del Salvator Mundi di Leonardo e delle varie copie dello stesso soggetto attribuite alla scuola leonardiana.

Approaching the 500th anniversary of Leonardo’s death, the world- renowned da Vinci expert recounts his fifty- year journey with the work of the world’s most famous artist A personal memoir interwoven with original research, Living with Leonardo takes us deep inside Leonardo da Vinci scholar Martin Kemp’s lifelong passion for the genius who has helped define our culture. Each chapter considers a specific work as Kemp offers insight into his encounters with academics, collectors, curators, devious dealers, auctioneers, and authors— as well as how he has grappled with legions of “Leonardo loonies,” treaded vested interests in academia and museums, and fended off fusillades of non- Leonardos. Kemp explains his thinking on the Last Supper and the Mona Lisa, retells his part in the identification of the stolen Buccleuch Madonna, and explains his involvement on the two major Leonardo discoveries of the last 100 years: La Bella Principessa and Salvator Mundi. His engaging narrative elucidates the issues surrounding attribution,the scientific analyses that support experts’ interpretations, and the continuing importance of connoisseurship. Illustrated with the works being discussed, Living with Leonardo explores the artist’s genius from every angle, including technical analysis and the pop culture works he inspired, such as The Da Vinci Code, and his enduring influence 500 years after his death.

The Salvator Mundi is the first Leonardo painting to be discovered for over a century. Following its re-emergence, it played a leading role in the landmark Leonardo exhibition at the National Gallery in London in 2011, after which it was purchased by a Russian oligarch. In 2017 it was auctioned by Christie's in New York, fetching the world record price of $450m, and now forms part of the collection of Louvre Abu Dhabi. The Salvator Mundi may be seen as the devotional counterpart to the Mona Lisa, having an extraordinary, communicative presence. The artist has reformed the very traditional subject matter in a number of ways. The elusiveness of Christ's expression suggests his spiritual origins beyond the world of the senses. The traditional sphere of the earth has been transformed into a rock-crystal orb and signifies a crystalline sphere of the heavens. In addition to its spiritual dimension, the image exploits Leonardo's optical knowledge and his growing sense of the illusiveness of seeing. Only the blessing hand is in reasonably sharp focus, with his features softly veiled. The scintillating curls of his hair are characterised in line with his theory that the physics of the curling of hair is analogous to vortex motion in water. This book looks at evidence of Leonardo's Salvator Mundi in the collections of Charles I and Charles II. It explores the appraisal of works by Leonardo at the Stuart courts, and proposes that how works attributed to Leonardo were first encountered and understood in seventeenth-century Britain would shape the wider evolution of Leonardo as a cultural icon. This volume gives a dramatic first-hand account of the modern-day discovery of the painting, from its purchase in a minor New Orleans auction house, to the cleaning of the picture that would disclose it as Leonardo's startling original, and the research processes that would uncover illustrious and obscure former owners. The book presents the definitive study of the new masterpiece.

"Leonardo's work is universally recognized: it arouses enthusiasm, causes astonishment, and provokes lyrical descriptions as well as inflammatory debate. A particular approach in appreciating Leonardo's work is to understand its material aspects more fully (the materials used by the artist, the manner of their preparation, associations between them and ways of combining different materials) so that artistic intention can be studied in depth, while at the same time revealing technical mastery and inventiveness. In addition, studying the way in which works age allows them to be better conserved and preserved. These are precisely the aims of the CHARISMA project, which brings together the expertise and experience of major European institutions that specialize in the examination and conservation of cultural heritage. This book is the result of contributions made by art historians, scientists and conservators during an international meeting held in early 2012 at the National Gallery, London, organized by CHARISMA to coincide with the exhibition 'Leonardo da Vinci: Painter at the Court of Milan' which included the newly-conserved London version of the 'Virgin of the Rocks.' The workshop was devoted to the study of the artistic technique of Leonardo and his workshop. The juxtaposition of different perspectives on the paintings and drawings of one of the most iconic artists of the Italian Renaissance highlights the need to take account of multidisciplinary points of view in order to build a more complete history of the works of art. The various articles illustrate the influence that Leonardo had not only on his students and those with whom he shared his workshops, but also on his contemporaries."--Back cover.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.