What are the content of Maddona And the Yarnwinder by Leonardo DaVinci?

Answer 1

Madonna of the Yarnwinder c1501-07
This is one of two paintings of the same subject associated with Leonardo. The attribution of this small panel continues to be the subject of debate, with most scholars denying an attribution to the master himself in favour of workshop assistants.

However, the results of recent scientific examination indicate that the overall design of the work is likely to be the work of Leonardo, as are some areas of the composition, such as the finely modelled head of the Christchild and the skilfully painted rocks in the foreground.

Infrared reflectography has revealed a range of pentimenti, or “small changes” in the underdrawing, which is characteristic of Leonardo and his compositional drawing practice. Minor adjustments have been made to the limbs of the Christchild and to the contours of the Virgin’s face and features. Originally the neckline of her dress was drawn marginally higher and her left foot included at the base of the panel.

The background of the painting is significantly different to the underdrawn design. To the left of the Virgin, a door or window was drawn together with a series of diagonal lines that appear to relate to a building and other forms drawn in perspective. Under the sky to the right of her head a series of curved lines perhaps relate to a mountainous landscape. The large scale of the Christchild is entirely characteristic of Leonardo as a means of emphasizing Christ’s importance as is the interest in transparent fabrics and the sfumato or “smoky” effect achieved in the fleshtones of the Virgin’s face.

While the distant seascape is rather untypical of the artist’s work, it may be seen in this context as a reference to the Virgin as “Stella Maris” or star of the sea - a metaphor from the Song of Songs in the Bible.

Medium Oil on panel
Size 48.3 x 36.9 cm
Location Duke of Buccleuch & Queensberry, KT


Madonna of the Yarnwinder (The Lansdowne Madonna) 1501-07
This is one of two versions of the same subject associated with Leonardo. The artist was documented as working on a small picture of this subject in 1501, after his return to Milan from Florence, for the French Secretary of State, Florimond Robertet. It is not clear which of the two paintings went to Robertet, but he appears to have received his picture in Blois in 1507.

The theme of the painting, which is likely to have been made for private devotional purposes, focuses on the mother’s love for her child, showing her gazing down at her son, and on the future passion of Christ. Jesus is completely preoccupied with a yarn-winder which, by virtue of its similarity to a crucifix, is regarded as a symbol of his death.

Mary with her right hand raised in protection, seems to want to draw the child back from the yarn-winder. But the child turns away from his mother’s loving gaze, as his entire attention is focused on the symbol of his future passion.

Medium Oil on wood panel (transferred to canvas and later re-laid on panel)
Size 50.2 x 36.4 cm
Location Private collection
The basic disposition and dimensions of the figure group in this painting correspond quite closely in both versions, but not so precisely as to suggest direct repetition. Technical examination has revealed strikingly complex and similar underdrawings in both these versions of the painting, indicating Leonardo’s direct involvement in the design of both pictures.

Given the disparity of the painting technique employed in the background, it seems likely that this picture was completed in the master’s studio by another artist sometime after the other Madonna of the Yarnwinder (Duke of Buccleuch) painting under Leonardo’s control, perhaps with his active participation in the final execution of the figure group.

The production of multiple versions of the same theme in Leonardo’s studio may have been a regular practice in response to the demand for images of this popular type

Answer 2

Please see the attached link 1 for a picture and link 2 for a description.

The original painting was probably commissioned by Florimund Robertet, the Secretary of State for King Louis XII of France. This painting was in the collection of the Duke of Buccleuch and hung in his home in Drumlanrig Castle, Dumfries and Galloway, Scotland until in 2003 it was stolen by two thieves posing as tourists. The painting's current whereabouts remain unknown and it is unlikely that it will appear on the open market because works by Leonardo are extremely well-documented, thus suggesting that it was stolen simply for its status rather than for profit.