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Gianni Glinni, an engineer for the Museum of
Antiche Genti di Lucania, and Helen Kokk, an expert in 3D graphic design. The recreated three-dimensional image was compared with other images believed to represent Leonardo da Vinci, including the iconic red chalk in Turin, the profile drawing believed to be by Leonardo's pupil Francesco Melzi, the painted portrait in the Uffizi and the recently discovered image in the
147:, the ancient name of Basilicata. In 2010 a conference was held at which a team comprising David Bershad, Professor at University of Calgary (Canada); Peter Hohenstatt, Professor at the University of Parma; Felice Festa, Professor of Orthodontics and Gnathology at the D'Annunzio University of Chieti–Pescara; and Nicola Barbatelli, presented the findings in support of Barbatelli's attribution.
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307:) of the paint surface which cannot be reproduced artificially and supported a Renaissance date. Further investigation was carried out by a body of specialists in different fields including INNOVA, CIRCE, University of Naples, Cybernetics - National Research Council, and University Suor Orsola Benincasa.
401:
It is attributed to
Leonardo by art historian Peter Hohenstatt (University of Parma). Art historian David Bershad (University of Calgary), who participated with Hohenstatt in an examination of the portrait in May 2010, later said "there's not enough evidence to sustain an attribution", describing the
299:
Since that time the focus of attention and research has been directed at proving the painting to be the work of
Leonardo da Vinci. The Vaglia Basilicata City Council then funded an investigation by a team of scientists, many of whom were from non-art related disciplines, to report upon anything which
234:
which is visible in damaged areas and on parts of the back of the panel. The surface of the paint has cracked down the main joint, and separated in several other places. There are several areas of abrasion to the surface of the painting, the most serious damage being two scrapes across the face, one
199:
60 by 44 centimetres (24 in Ă— 17 in) is of a man dressed in a dark garment, wearing a black hat with a small upturned brim. The man's skin is pale, his eyes blue and his hair and beard greying. The figure is set against a dark greyish monochrome background and is brightly lit from the
131:
on panel, 60 by 44 centimetres (24 in Ă— 17 in), it depicts a man in three-quarter view, with a long beard and wearing a dark hat. In 2019 it was exhibited in Madrid along with other material related to
Leonardo. It is usually in the Museo delle Antiche Genti di Lucania (Museum of the
154:
refused permission for an exhibition in which the Lucan
Portrait was meant to be the centrepiece, citing doubts by its art history department over the attribution to Leonardo. Nicola Barbatelli has however dismissed this decision, stating that the university did not have academics "with sufficient
371:
An analysis of the soft tissue of the face, applying methods used in facial surgery, was made by Prof. Felice Festa of the D'Annunzio
University of Chieti–Pescara. The painted image was subject to detailed computer analysis and 3D imaging by Prof. Orest Kormashov, University of Tallinn, Estonia;
295:
on the reverse of the panel indicated that it was "a later addition". Vezzosi was later to say "We need to find out the exact dating of this portrait. I have excluded the possibility that we are dealing with a self-portrait painted by
Leonardo himself. Nevertheless, the Acerenza portrait is
336:(ED-XRF) and were shown, in the unrestored areas, to be compatible in age with the panel and showed no trace of modern pigments in the unrestored areas; however, the feather was revealed to have been painted in a "modern" titanium-based pigment not used in other parts of the painting.
376:. A conclusion was that all the images, but one, reveal a face that is elongated in the lower two thirds. The image that did not comply was the red chalk so-called self-portrait in Turin, considered by some to be of Leonardo in old age.
203:
The identification of this portrait as
Leonardo da Vinci is based upon comparison with several representations of the artist including a very similar portrait in the Uffizi, the red chalk portrait in Turin and the red chalk portrait by
447:
359:
resolution by Dr Hector Sarno of INNOVA to compose a magnetic map of the painting and to check for illegible letters. Cleaning of the back of the board revealed the reversed inscription "PINXIT MEA" written in
483:
175:, vol. I (1815) edited by Abate Domenico Romanelli, as being the work of Leonardo da Vinci and located in the Palazzo Baranello nella strada Cedronia of the Duke of Baranello, of the noble family Russo.
262:, who confirmed that the painting appeared to be from the Renaissance period. Vezzosi was reported, in February 2009, as investigating whether the painting was the work of a minor 16th-century artist
387:
led an investigation into three fingerprints they found in the paint of the Lucan painting and found one of them to be "unambiguous" with the left index fingerprint on the ebony beads of
Leonardo's
431:
227:, in "mirror writing" so that the whole inscription is reversed and reads from right to left. The inscription runs down the left side of the reverse of the painting, rather than across it.
332:
gave 64% chance the wood of the panel dated between 1459 and 1523, making it contemporary with
Leonardo, who was born in 1452 and died in 1519. The pigments were investigated using
124:, said in 2011 that he had excluded the possibility that it was a self-portrait but that the painting "remains intriguing because it adds a new element to the Leonardo puzzle".
200:
left of the picture, illuminating the right-hand side of the sitters face, and casting a shadow across the left-hand side. The gaze of the figure is turned towards the viewer.
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258:
Upon its discovery by Nicola Barbatelli, the painting was subjected to an initial examination by Alessandro Vezzosi, director of the Museo Ideale Leonardo da Vinci at
632:
303:
A preliminary cleaning of the painting was carried out, by Professor Giancarlo Napoli of the Suor Orsola Benincasa University in Naples, and revealed micro-cracking (
380:
870:
163:
The painting was found in 2008 by Nicola Barbatelli, director of the Museo delle Antiche Genti di Lucania, in the private collection of an aristocratic family at
364:, an ink commonly used by Leonardo. An analysis of the handwriting by graphologist Silvana Iuliano, revealed compatibility with script used by Leonardo in the
267:
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167:(population 3,000), a village on the river Bradano near Potenza in Basilicata. The family, who asked to remain anonymous, believed it to be a portrait of
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previously regarded as a portrait from life. Close similarity to the Lucan portrait suggests that one derives from the other or from a similar original.
242:
to the subject's left eye and cheek, and probably the mouth. There is a small curling white feather adorning the hat which is an apparent addition.
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as saying he had excluded the possibility that the work was "a self-portrait painted by Leonardo himself" and that examination of the inscription
322:, medium and pigments, and identifying restored areas. Gaetano Di Pasquale of the University of Naples confirmed the wood of the panel to be
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of which extends from the nostril across the corner of the eye to the brim of his hat, and another which extends from nostril to pupil.
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is a late 15th- or early 16th-century portrait of a man. The picture was discovered in 2008 in a cupboard of a private house in Italy.
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intriguing because it adds a new element to the Leonardo's puzzle. Here we have Leonardo depicted as a middle-aged, blue-eyed man."
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112:, painted posthumously for the Medici and also held by the Uffizi. The painting was previously thought by its owners to represent
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In 2008 Nicola Barbatelli, Director of the Museo, discovered the painting, attributed it to Leonardo, and gave it the name
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215:. There are narrow horizontal sections of timber at the top and bottom of the panel. These sections have half-lapped
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and generally believed to be a 19th century forgery. In size, style and medium it resembles a portrait of Leonardo by
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709:[Scientific protocol for attribution of Lucan portrait] (in Italian). Vaglio Basilicata. Archived from
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753:
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The panel is constructed of two main vertical sections of wood of irregular width and joined with two inset
171:. According to Professor Peter Hohenstatt of the University of Parma, the portrait is listed on page 116 of
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732:
Official website of the Carabinieri - Raggruppamento Carabinieri Investigazioni Scientifiche (Ra.C.I.S.)
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840:
710:
807:
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In February 2009, two months after the painting's discovery, Vezzosi had been erroneously quoted by
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The image on the panel is painted using a mixture of egg and oil as a medium over a ground of white
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A Self-Portrait by Leonardo da Vinci, the "Lucan Painting": an Analysis and Attribution to Leonardo
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318:, headed by Prof. Terrasi, researched the physical properties of the painting including the
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to the verticals, visible at the front of the panel. The rear of the panel has the words
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but on its discovery a claim was made that it is a self-portrait by Leonardo da Vinci.
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854:
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790:"an attempt of an enthusiastic admirer of Leonardo to fill a gap in that gallery" (
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239:
798:, 1903:3); attributions have ranged widely: "it is now supposed to be the work of
672:, for "Leonardo and the Renaissance fantastic" Exhibition, Sorrento, (June 2010)
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274:, including a profile of Leonardo based on the red chalk profile drawing in the
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633:"Doubts over authenticity halt da Vinci self-portrait exhibition in Valletta"
282:. Vezzosi later dismissed the early conjecture that it was by dell'Altisimo.
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could be tested to either support or deny the attribution to Leonardo.
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60 cm Ă— 40 cm (24 in Ă— 16 in)
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Complete text and images of Richter's translation of the Notebooks
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383:, and Col. Gianfranco De Fulvio, RIS-Ra.C.I.S. Command of the
814:. 1898:231, illus. p 233; it is not part of the Giove series.
266:. Altissimo executed numerous portraits of famous men for
254:
Detail revealing paint, craquelure, damage and overpainting
187:
The reverse of the panel on which the portrait is painted
707:"Breve Nota Sugli Studi Eseguiti - Protocolo scientico"
656:"un ritratto di Leonardo da Vinci fatto da lui stesso"
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Portrait of Leonardo da Vinci discovered in Basilicata
841:
Scientific protocol for attribution of Lucan portrait
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Leonardo da Vinci: artist, thinker and man of science
120:, director of the Museo Ideale Leonardo da Vinci at
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It composition, it strongly resembles a portrait of
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64:
53:
45:
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533:, The Times, 2009-02-24, accessed 5 November 2010
473:of a late posthumous portrait of Leonardo in the
402:painting's style as unlike any work by Leonardo.
495:, digitally enhanced to make it clearly visible.
437:Portrait of Leonardo by his pupil and assistant
457:based on the Melzi's drawing (Uffizi Gallery).
768:. Collectionsonline.lacma.org. Archived from
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593:
334:energy-dispersive X-ray fluorescence analysis
8:
766:"Leonardo da Vinci | LACMA Collections"
695:, Surrentum Online, accessed 6 November 2010
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686:
684:
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601:Vinci portrait discovered in Southern Italy
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618:, Aponte Viaggo, accessed 19 November 2010
268:Cosimo I de' Medici, Grand Duke of Tuscany
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20:
547:"Leonardo da Vinci portrait 'discovered'"
16:Late 15th- or early 16th-century portrait
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381:D'Annunzio University of Chieti–Pescara
223:painted on it. It is written in Roman
839:Museo delle Antiche Genti di Lucania,
705:Museo delle Antiche Genti di Lucania.
615:Leonardo and the Renaissance Fantastic
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521:
519:
517:
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76:Museo delle Antiche Genti di Lucania,
24:Lucanian portrait of Leonardo da Vinci
871:Works attributed to Leonardo da Vinci
604:, Daily Contributor, 24 February 2009
489:A recently discovered image from the
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662:
626:
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87:Museo delle Antiche Genti di Lucania
833:Lucan portrait of Leonardo da Vinci
453:Posthumous portrait of Leonardo by
278:attributed to Leonardo's companion
95:Lucan portrait of Leonardo da Vinci
806:, or possibly of some imitator of
238:It is apparent that there is some
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754:"Painting leaves expert in doubt"
351:The painting was examined with a
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482:
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136:, a region of Southern Italy.
132:Ancient Peoples of Lucania) in
1:
492:Codex on the Flight of Birds
374:Codex on the Flight of Birds
353:Scanning Magnetic Microscope
587:, ( Retrieved 29 June 2011)
328:, common throughout Italy.
155:expertise on the subject".
887:
469:19th century engraving by
406:Gallery of other portraits
195:on a wooden panel made of
693:Self-portrait of Leonardo
455:Cristofano dell'Altissimo
310:The INNOVA centre of the
270:, some of them after the
264:Cristofano dell'Altissimo
110:Cristofano dell'Altissimo
28:
631:Ltd, Allied Newspapers.
471:Raffaello Sanzio Morghen
866:Paintings in Basilicata
810:", noted Eugène Müntz,
577:Da Vinci's Hidden Faces
208:in Windsor and others.
173:Napoli Antica e Moderna
423:Possible self-portrait
379:Luigi Capasso, of the
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312:Federico II University
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188:
835:at Wikimedia Commons
551:Telegraph Media Group
342:
253:
186:
743:Fondazione Sorrento
582:4 July 2011 at the
574:Discovery Channel,
390:Lady with an Ermine
152:University of Malta
804:Sisto Baldalocchio
668:Peter Hohenstatt,
553:. 23 February 2009
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256:
189:
118:Alessandro Vezzosi
831:Media related to
796:Leonardo da Vinci
191:The painting, in
134:Vaglio Basilicata
102:Leonardo da Vinci
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78:Vaglio Basilicata
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772:on 15 April 2013
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343:The inscription
330:Carbon 14 dating
276:Royal Collection
213:butterfly joints
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861:1500s paintings
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206:Francesco Melzi
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193:tempera grassa
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129:tempera grassa
106:Uffizi Gallery
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293:"pinxit mea"
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221:"PINXIT MEA"
217:mitre joints
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104:held by the
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18:
717:19 November
397:Attribution
385:Carabinieri
179:Description
127:Painted in
855:Categories
642:25 January
557:20 January
504:References
345:PINXIT-MEA
305:craquelure
159:Provenance
65:Dimensions
808:Correggio
362:iron gall
355:at a 100
288:The Times
49:1505–1510
800:Schidone
776:26 March
580:Archived
425:, Turin.
246:Analysis
165:Acerenza
73:Location
60:on panel
325:Populus
169:Galileo
145:Lucania
143:, from
114:Galileo
41:Unknown
475:Uffizi
320:ground
316:Naples
197:poplar
54:Medium
38:Artist
802:, of
260:Vinci
232:gesso
122:Vinci
84:Owner
778:2013
719:2010
644:2018
559:2015
93:The
46:Year
314:of
857::
794:,
677:^
661:^
635:.
623:^
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549:.
538:^
512:^
393:.
368:.
357:ÎĽm
780:.
721:.
646:.
561:.
441:.
347:.
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