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The ''Madonna Litta'' is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the ''Madonna lactans''. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier ''Madonna of the Carnation'', and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion. Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century. ==History== The ''Madonna Litta'' might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (1481–3 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the ''Madonna Litta'' could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist. Several drawings have been identified as preparatory to the ''Madonna Litta''. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman’s face in near profile, part of the Codex Vallardi in the Louvre (''left''). There is evidence that this sheet was used as an ''exemplum'' for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.〔 (cat. no. 60)〕 Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin’s garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the ''Madonna Litta'' rather than copies after it, as the drapery study shows more of the Virgin’s right arm than the finished work, in which this is obscured by Christ’s head. This suggests that the composition was partly pieced together from these studies. A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that that this study might represent an earlier idea by a pupil for the composition of the ''Madonna Litta'', which the master Leonardo then “corrected” with the drawing in the Louvre. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Madonna Litta」の詳細全文を読む スポンサード リンク
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