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Our
restorations and interpretive paintings are available for purchase by
calling 1 (919) 323-1803.
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Price (Unmounted)
Price (Mounted)
Framed
Call for estimates on framing. See frame examples here.
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Limited editions of
50. Signed by artist. Giclee produced with archival inks on 250
lb watercolor paper.
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Watercolor
Interpretation of Leonardo's
Cavalcade (Right Hand Scene for Battle of Anghiari)
(ca. 1503) Charcoal and black chalk with
brown wash
158.75x196.85mm (6 ¼ x 7 ¾ in)
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A surviving segment of an originally
much larger drawing, the Cavalcade provides a glimps of Leonardo's
"experimental" style.
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All
that remains of Leonardo’s monumental multi-perspective
‘fresco’
The Battle of Anghiari (1504-08) are a few tiny sketches.
The central scene of Leonardo’s experimental technique original
may still exist in the Palazzo Vecchio (having been plastered and
frescoed over by Vasari in 1563). Modern-day research has
uncovered traces behind Vasari’s later paintings; and records
indicate
that Vasari ordered enough brick to have built a protective second wall
between his and Leonardo’s work. Vasari in fact did this when
asked to
cover Masaccio’s Trinity of decades earlier. Today we have found
the
intact Trinity underneath! Now, the problem is how to
scientifically determine if he did the same with Leonardo's work, and
how to detach and preserve
Vasari’s fresco!
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Leonardo
intended for the above eye-level painting to appear as seen from below
and in oblique perspective (never before attempted). It occupied
the West wall of the governmental chamber, depicting a three
scene epic battle in which the Florentines were victorious over the
Milanese in 1440. Florentines snickered as they commissioned
rival Michelangelo to paint the Battle of Cascina to the left of
Leonrdo! Neither artist completed the task.
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The
Cavalcade depicts the moment just before the central ‘fight for
the
standard’ on the Tuscan plain of Anghiari at sunset, “amid
smoke, dust,
and clouds.” In this scene, eagerly rearing horses carry
soldiers
ready for battle; flying their colorful ‘gonfaloni’
(banners) of the
Florentine Republic. It is believed that Leonardo made these
sketches from small mock-ups of the battle cast in wax, hence their
more stylized character. As Leonardo wrote, “make one
of
wax the length of a finger.” Thus allowing the artist to
compose
the battle figures in difficult poses, which were his forte`.
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“And
in such studies some interfusion of the extremes of beauty and terror
shaped itself, as an image that might be seen and touched in the mind
of this gracious youth, so fixed that for the rest of his life it never
left him.”
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