"Madonna Litta" is a painting whose authorship continues to cause controversy. Traditionally attributed to the great Italian artist and scientist of the Renaissance Leonardo da Vinci, dating to approximately 1481–1495. The work got its name in honor of the last owners — the Milanese family of the Litta counts.
Originally painted in tempera on a wooden panel, the painting was transferred to canvas by a restorer in the 19th century. Its dimensions are 42 × 33 cm.
History of the Painting
The history of "Madonna Litta" can be traced to 1784, when it was purchased by Prince Alberico Barbiano di Belgioioso from a certain Giuseppe Ro. After the prince's death, the canvas passed to the collection of his son-in-law, Antonio Litta-Visconti-Arese, the first Duke of Litta.
Path to the Hermitage
In 1864, Baron Boris Kone, advisor to the Imperial Hermitage, received a letter from Milan from Antonio Litta-Visconti-Arese. The Litta family's connection with Russia was close: Count Giulio Renato Litta served as commander of the Maltese Order and advisor to Emperor Paul I.
Unfortunately, the condition of the painting, painted in tempera on wood, raised concerns. Restorer A. S. Sidorov transferred it to canvas — a common practice in the 19th century — and in 1865 "Madonna Litta" took its place in the exposition of the New Hermitage.
Controversy Over Authorship
However, Leonardo da Vinci's authorship has never been undisputed. Such authoritative art historians as A. N. Benois and Giovanni Morelli categorically denied it.
Indeed, the excellent composition and masterful drawing, especially the typically Leonardesque head of the Madonna, seem poorly combined with the "non-Leonardesque" image of the Infant and crude, mediocre painting with dark outlines.
Benois noted: "Sharp light, reaching pointlessness at times, the selection of colors; mistakes and shortcomings in modeling — all this speaks to the fact that before us is the work of a student — an excellent artist, however."
X-ray studies of the painting confirmed these assumptions, showing that the crude overpainting and abundance of black shading were added later by the "restorer's" unskillful hand.
Perhaps "Madonna Litta" was created from a drawing by Leonardo da Vinci or was begun by him at the end of the first, Florentine, period of his work, before leaving for Milan in 1482, but remained unfinished. It is also possible that it was completed by one of his students, most likely Boltraffio.
Thus, "Madonna Litta" remains not only a work of art but also the subject of ongoing research and discussion.