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On the subject of the Virgin and Child with Saint Anne Leonardo had already reflected in his Milanese
period, when he prepared the cartoon with these figures, now in the National Gallery in London. But he never translated this cartoon into painting. The painting we are considering here is neither a version nor a
derivation of that earlier idea. Here the structure is autonomous, and also the conceptual significance
differs considerably. Against the background of a circle of mountains emerging from mists, as if they were
painfully taking shape from the chaos before the Creation, there rises the pyramidal group of Saint Ann, the Virgin, and the Infant Jesus, with a lamb, the symbol of his future sacrifice. The barely perceptible smiles of the faces are the only expression of feeling in the whole painting, which is actually an anthology of very
beautiful parts ( the mountains, the holy group, the tree on the right ), not closely related to one another. We are far from the vibrant, loving colloquy of the London cartoon; still, in the tense movement of the Madonna, drawing the Child towards her, as he seems to want to elude her and play with lamb, we find a typical
Leonardo element, the depiction of movement closely involved in the structure of the group: a conceptual
invention of extraordinary originality which did not fail to inspire later artists.
The work, unfinished, was almost certainly executed by Leonardo with teh assistance of pupils during his
stay in Florence in 1508, when he was commissioned to paint the panel for the main altar of the Santissima Annunziata. This painting, along with the notebooks and other works, went to Francesco Melzi when the
master died. It was founded by the French in 1629 at Casale Monferrato during the war for Mantua. It has
been displayed in the Louvre Museum since 1810. Numerous copies of it are familiar, by pupils in Leonardo's circle and also by painters rather far from his school. The composition was recalled by the generation that
followed Leonardo: we have only to think of the many Madonnas of Raphael and of the Holy Family, Doni
Tondo, of Michelangelo, which retain the figurative scheme of this Saint Anne, a further proof of the
immediate interest and attention that each work of Leonardo's aroused as it appeared.
Dedicated to R. and his family
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