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March 29th, 2012 
FAKE NEWS for the Zionist agenda
“The exhibit is a science workshop,” Delieuvin said. “For
Leonardo, art is founded on theoretical knowledge of nature and its
functioning.”
In one carnet spilling with mathematical sketches, we see how over several
years he painstakingly studied light refracting from opaque objects. It
decodes the technique that made Leonardo famous. The Saint Anne painting is
a glowing example clearly seen in the blue opaque mantle with its almost
imperceptible play on light and shadow.
The key to the hazy realism of the tree, too, with the subtle contrast of
light in its leaves was cracked by infrared used during the restoration. To
get this effect, Leonardo first painted the entire tree structure in full
and only afterwards painted the foliage on top.
Another notebook astounds in its detailed analysis of water and air
compression that shows the thinking that went into creating the sweeping
blue and grey mountains rising up behind Saint Anne and child.
Like the novel “The da Vinci Code,” the restoration of the master’s
last work has been accompanied by high-level intrigue worthy of a political
thriller.
Seventeen years ago, the Louvre abandoned an attempt to clean the painting
amid fears over how the solvents were affecting the sfumato, a painting
technique that Leonardo mastered.
After the cleaning was eventually given the green light in 2009, two of
France’s top art experts – Jean-Pierre Cuzin and Segolene Bergeon Langle –
resigned last year from the Louvre advisory committee responsible for the
restoration, amid reports they were outraged that restorers were
over-cleaning the work to a brightness Leonardo never intended.
The museum confirmed to The Associated Press last year’s resignations but said
it could give no further details on the events.
However, on seeing the final product, Bergeon Langle, France’s national
authority on art restoration, has partly buried the hatchet.
In an interview in the Louvre’s in-house magazine, she said she has been
reassured on some aspects that bothered her. But she also said she remained
unhappy about other points of the restoration. She notably criticised the
decision to remove a white patch on the body of the infant Jesus, which she
said was painted by Leonardo himself.
Whether it was done by the Renaissance man we will never know, an artist who
made only 18 works – all unfinished.
Indeed, mystery still shrouds much of Leonardo’s career.
A discovery restorers stumbled across during the cleaning of the Saint Anne
painting points to another mystery, this one in Leonardo’s hometown of
Florence and linked to his missing masterpiece “The Battle of Anghiari”
also known as “The Lost Leonardo.”
After infrared photography was used to scan the Louvre work, the exhibit shows
that two pictures were found that had been secretly hidden in the painting
for hundreds of years.
One, drawn by a left-handed artist, is thought to be by Leonardo, who was
himself left-handed.
It is a depiction of the hatchings on a horse’s head, similar to that in the
mural of “The Battle of Anghiari.”
Curator Delieuvin would not speculate on the finding – or another more
dramatic discovery linked to the lost work revealed earlier this month in
Florence.
There, researchers said they may have discovered traces of this lost mural by
da Vinci by poking a probe through cracks in a 16th century fresco by
Giorgio Vasari painted on the wall of the Palazzo Vecchio, one of the city’s
most famous buildings.
The research team leader Maurizio Seracini of the University of California
said “The Battle of Anghiari” could be hidden behind the fresco
done by Vasari years later.
Seracini said that Vasari, an admirer of the Renaissance, would never have
destroyed a da Vinci work.
He pointed out a small but possibly telling clue: painted on a tiny flag in
Vasari’s fresco are the words “Cerca trova” – Italian for “seek
and you will find.”
The Louvre exhibit, “Saint Anne, Leonardo da Vinci’s Ultimate Masterpiece,”
runs from March 29 to June 25.
Source: AP
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