Pod povrchem ikonick\u00e9ho d\u00edla Leonarda da Vinciho, \u201eMadony ve skal\u00e1ch\u201c, se skr\u00fdvaj\u00ed skici, kter\u00e9 odhaluj\u00ed tv\u016fr\u010d\u00ed proces tohoto um\u011blce. Modern\u00ed zobrazovac\u00ed techniky, jako je infra\u010derven\u00e1 technologie, makrorentgenov\u00e1 fluorescence a hyperspektr\u00e1ln\u00ed zobrazov\u00e1n\u00ed, odhalily dv\u011b podkresby, kter\u00e9 poskytuj\u00ed pohled do Leonardov\u00fdch kompozi\u010dn\u00edch z\u00e1pas\u016f.<\/p>\n\n
Prvn\u00ed podkresba zobrazuje v\u00fdrazn\u011b odli\u0161n\u00e9 uspo\u0159\u00e1d\u00e1n\u00ed postav. Je\u017e\u00ed\u0161ek a and\u011bl jsou um\u00edst\u011bni mnohem v\u00fd\u0161e v r\u00e1mu, p\u0159i\u010dem\u017e and\u011bl obj\u00edm\u00e1 Krista v \u201et\u011bsn\u011bj\u0161\u00edm objet\u00ed\u201c. Tato kompozice nazna\u010duje, \u017ee si Leonardo p\u016fvodn\u011b p\u0159edstavoval intimn\u011bj\u0161\u00ed a dynami\u010dt\u011bj\u0161\u00ed vztah mezi t\u011bmito dv\u011bma postavami.<\/p>\n\n
Druh\u00e1 podkresba se v\u00edce podob\u00e1 dokon\u010den\u00e9mu obrazu, ale p\u0159esto existuj\u00ed ur\u010dit\u00e9 patrn\u00e9 rozd\u00edly. Poloha Kristovy hlavy byla zm\u011bn\u011bna a z and\u011blov\u00fdch vlas\u016f bylo ost\u0159\u00edh\u00e1no n\u011bkolik kade\u0159\u00ed. Tyto zm\u011bny nazna\u010duj\u00ed, \u017ee Leonardo se p\u0159i pr\u00e1ci na obraze neust\u00e1le zdokonaloval a upravoval kompozici.<\/p>\n\n
Podkresby tak\u00e9 odhaluj\u00ed otisky rukou v z\u00e1kladu pou\u017eit\u00e9m k pokryt\u00ed d\u0159ev\u011bn\u00e9ho panelu. Tyto otisky rukou pravd\u011bpodobn\u011b pat\u0159\u00ed n\u011bkter\u00e9mu z Leonardov\u00fdch asistent\u016f, co\u017e nazna\u010duje, \u017ee p\u0159i p\u0159\u00edprav\u011b pl\u00e1tna hledal pomoc.<\/p>\n\n
Obraz v National Gallery je jednou ze dvou verz\u00ed \u201eMadony ve skal\u00e1ch\u201c vytvo\u0159en\u00fdch Leonardem v pr\u016fb\u011bhu v\u00edce ne\u017e \u010dtvrt stolet\u00ed. Prvn\u00ed verze, o kter\u00e9 se p\u0159edpokl\u00e1d\u00e1, \u017ee byla zah\u00e1jena v roce 1483, vis\u00ed v Louvru v Pa\u0159\u00ed\u017ei. Odborn\u00edci se domn\u00edvaj\u00ed, \u017ee prvn\u00ed verze byla zam\u00edtnuta objednavatelem kv\u016fli nedostatku tradi\u010dn\u00ed ikonografie, co\u017e zt\u011b\u017eovalo identifikaci postav.<\/p>\n\n
Leonardo pak mohl tuto verzi prodat v\u00e9vodovi mil\u00e1nsk\u00e9mu a vytvo\u0159it druh\u00fd obraz, kter\u00fd by splnil jeho objedn\u00e1vku. Druh\u00e1 verze, kter\u00e1 se nyn\u00ed nach\u00e1z\u00ed v National Gallery, vykazuje jasn\u011bj\u0161\u00ed barvy, v\u011bt\u0161\u00ed postavy a p\u0159id\u00e1n\u00ed svatoz\u00e1\u0159\u00ed a r\u00e1kosov\u00e9 hole Jana K\u0159titele.<\/p>\n\n
P\u016fvodn\u011b se v\u011b\u0159ilo, \u017ee druh\u00e1 verze byla z velk\u00e9 \u010d\u00e1sti namalov\u00e1na Leonardov\u00fdmi asistenty. Po rozs\u00e1hl\u00e9m \u010di\u0161t\u011bn\u00ed a restaurov\u00e1n\u00ed v roce 2010 v\u0161ak historici um\u011bn\u00ed do\u0161li k z\u00e1v\u011bru, \u017ee naprostou v\u011bt\u0161inu d\u00edla namaloval s\u00e1m Leonardo. Tento objev zd\u016fraz\u0148uje Leonardovo mistrovstv\u00ed a jeho pe\u010dlivou pozornost k detailu.<\/p>\n\n
Podkresby a rozd\u00edly mezi ob\u011bma verzemi \u201eMadony ve skal\u00e1ch\u201c poskytuj\u00ed cenn\u00e9 poznatky o Leonardov\u011b tv\u016fr\u010d\u00edm procesu. Odhaluj\u00ed jeho experimentov\u00e1n\u00ed s kompozic\u00ed, jeho d\u016fraz na detail a jeho zvl\u00e1dnut\u00ed sv\u011btla a st\u00ednu.<\/p>\n\n
\u201eMadona ve skal\u00e1ch\u201c je d\u016fkazem geniality Leonarda da Vinciho. Podkresby a mnoho verz\u00ed obrazu nab\u00edzej\u00ed vz\u00e1cn\u00fd pohled do mysli jednoho z nejv\u011bt\u0161\u00edch um\u011blc\u016f v\u0161ech dob. P\u0159ipom\u00ednaj\u00ed n\u00e1m tv\u016fr\u010d\u00ed z\u00e1pasy, experimentov\u00e1n\u00ed a vytrvalost, kter\u00e9 stoj\u00ed za ka\u017ed\u00fdm mistrovsk\u00fdm d\u00edlem.<\/p>","protected":false},"excerpt":{"rendered":"
Leonardova tv\u016fr\u010d\u00ed z\u00e1pasy: Podkresby \u201eMadony ve skal\u00e1ch\u201c Odhalen\u00ed Leonardov\u00fdch skryt\u00fdch skic Pod povrchem ikonick\u00e9ho d\u00edla Leonarda da Vinciho, \u201eMadony ve skal\u00e1ch\u201c, se skr\u00fdvaj\u00ed skici, kter\u00e9 odhaluj\u00ed tv\u016fr\u010d\u00ed proces tohoto um\u011blce.…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2947],"tags":[7687,104,6319,16281,16282,16283,2072],"class_list":["post-12046","post","type-post","status-publish","format-standard","hentry","category-painting","tag-creative-process","tag-art-history","tag-leonardo-da-vinci","tag-the-virgin-of-the-rocks","tag-underdrawings","tag-imaging-techniques","tag-renaissance-art"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/12046","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/comments?post=12046"}],"version-history":[{"count":1,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/12046\/revisions"}],"predecessor-version":[{"id":12047,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/12046\/revisions\/12047"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media?parent=12046"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/categories?post=12046"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/tags?post=12046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}