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Umberto Boccioni - Interior with two female figures
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Aligi Sassu - Young naked (playing)
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Agnolo Gaddi - Heads of Five Youths and Lamb’s Head
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Giambattista Tiepolo - Caricature of monk reading
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Agostino Busti, detto il Bambaia - Design for an Altar
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Adolfo Wildt - Selfportrait
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Annibale Carracci - Detail of a male nudes
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Leonardo da Vinci - Head of Leda
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Camillo Procaccini - Study for Saint Sebastian chained in a niche
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Tranquillo Cremona - High Life (a Piquant Conversation)
Umberto Boccioni - Interior with two female figures
Aligi Sassu - Young naked (playing)
Agnolo Gaddi - Heads of Five Youths and Lamb’s Head
Giambattista Tiepolo - Caricature of monk reading
Agostino Busti, detto il Bambaia - Design for an Altar
Adolfo Wildt - Selfportrait
Annibale Carracci - Detail of a male nudes
Leonardo da Vinci - Head of Leda
Camillo Procaccini - Study for Saint Sebastian chained in a niche
Tranquillo Cremona - High Life (a Piquant Conversation)

Other works on display

Description

The earliest reference in the public collections to this "unfinished” sanguine drawing in the style of the school of Leonardo, appears in the first guide to the Municipal Art Museum in 1879. Initially attributed to Sodoma, it was later recognised by Adolfo Venturi as being a study for the head and half bust for Leda and the Swan by Leonardo da Vinci. The lost work by the Florentine master is known only from antique painted copies and some original sketches. Some have attempted to attribute the drawing to the circle of Cesare da Sesto, that of Gianpietrino or that of Francesco Melzi, Leonardo’s most faithful pupil and heir to all of the master’s manuscripts and drawings. The sketch, on red prepared paper, is an impressive display of drawing technique executed using red chalk, of which Leonardo was the first to explore the potential and the knowledge of which he passed on to his circle. The recent restoration of the drawing conducted by the Opificio delle Pietre Dure in Florence has brought to light the quality of the execution, highlighting stylistic traits typical of the manner of Leonardo, such as signs of incision, the hatching, the soft and homogeneous distribution of the shading and the detailed plaiting of the hair.

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