Leonardo Da Vinci's Stolen Painting Of Jesus NOT PAINTED BY Da Vinci (painters, paint)
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It's no wonder that the colored version of Da Vinci's Salvator Mundi has come up missing from the fact that Da Vinci DID NOT PAINT IT.
What we have is a fraud, we have a painting worth 450 million dollars because Da Vinci supposedly painted it, and granted, it would be worth a great deal even if Da Vinci would not have painted it, but to claim Da Vinci painted the colored version of the Salvator Mundi is insane, it may not appear insane to the world, but it is insane to a person who can read the symbllism of what Da Vinci displays in ALL HIS PAINTINGS.
Da Vinci is telling stories in his paintings, they are documents that read right to left and there is a specific language being displayed, and whoever painted that colored version of the Salvator Mundi had no clue that a language of symbolism was there.
It is highly suspect that this painting suddenly came up missing because sooner or later it is going to be proven that Da Vinci NEVER painted it, and the insurance is probably way more money than the painting is worth, that's a fact. It is a fact that Da Vinci did not paint that painting, not an opinion, it is a fact.
Whatever insurance company that has to cover the loss of that stolen painting is, THEY SHOULD CONTACT ME.
I can easily prove it is not a Da Vinci, and I don't need the painting to prove this,
they would have to probably pay anyway, but it is an easy thing to prove that painting is a fraud.
I am just wondering if it would mean anything to the insurance company for somebody to prove beyond any doubt that Da Vinci did not paint that painting.
Since almost all of the master painters had schools and/or apprentices, there's still a lot of artwork out there that is credited to the school but not the master artist.
Botticelli's painting above is typical of what went on back then; if a painting was a hit, people wanted one like it, so the school produced copies. Sometimes the master painter put the final flourishes on the work, sometimes not.
But the master painter's style held on copies, and the paint used held even closer.
Back when every artist had to grind and mix his own paint, each had their own recipes for the colors they used, and these were guarded closely. The raw pigments were sometimes very expensive as well, especially the blues and violets, so unless an artist was successful, he could not afford to use some colors.
Color preparation took a long time, and was done quite frequently, as there was no good way to store the finished paint that could keep it from hardening. So small batches had to be made and used up pretty quickly, and the paint's color had to be pretty consistent from batch to batch for big paintings.
Smaller paintings used less paint and required less batch making. Church commissions were quite often large, as they had to be seen in a big space. Private copies could be much smaller because they were intended to hang in smaller spaces.
Every artist had his own way of preparing colors, and his apprentices all learn only his way. It was a basic element in their training. So when forgery or imitation is suspected, an analysis of the colors used can often reveal if it's a fake or not.
The late pop artist Thomas Kinkaid essentially used the same methods to paint his cutesy pictures of cottages with lights in the windows. He would paint an original, then use a production line of apprentices to re-create them from his working drawings.
Kinkaid had it down to a further degree however. His original would sell for $10,000, his apprentice copies with a few of his final touches would sell for $5,000, a fully apprentice only copy would sell for $2500, and a mechanically done print would sell for $100. If that was too much, a Kinkaid buyer could buy some printed greeting cards for even less.
Kinkaid just stepped mass production up a couple of notches from the Renaissance painters. They all did their best to meet demand, and they all hoped for greater demand.
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