Los Angeles Hollywood Movie Star made offer to buy Leonardo Da Vinci

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Oscar Generale confirms a Hollywood Movie Star made offer to buy Leonardo Da Vinci

Hollywood producer Oscar Generale, well known worldwide for his career in entertainment, lover and collector of works of art, a close friend of many American Stars has been appointed by a famous Star of Hollywood for the purchase of Leonardo Da vinci’ s famous lucan self-portrait. Unique piece in the world.

The well-informed say that a team of lawyers from Rome, Italy, are now working on an armored contract for about 180 Million Dollars.

Since the news began to circulate, the hunt has begun to learn the name of the American Star who is ready to pay such a sum to have a unique piece of art in the world.

Leonardo da Vinci (attributed to)
Lucan portrait of Leonardo da Vinci (Italian: Tavola Lucana, or Ritratto Lucano)
Tempera grassa on poplar panel ; 60 x 44 cm
Dated around 1505-1510
Inscriptions: on the rear, in mirror writing, “PINXIT MEA” (Latin: ”My [hand] painted [it]")

Received into the private collections of a nobleman from Salerno (Campania, southwestern Italy), via direct hereditary handing down, and found by Nicola Barbatelli in December 2008, it is reported in the preceding 20th-century collections as a portrait of Galileo Galilei ; it should be made clear that the artwork arrived in Salerno from the nearby Lucania (present-day Basilicata), where it is actually found to have been recorded until the first half of the 20th century.

Acknowledged for the first time as pertinent to the art of the Leonardeschi by the curator Alessandro Vezzosi, it was presented to the public in the early months of 2009, on the occasion of the inauguration conference of the exhibition The portraits of Leonardo at the Palazzo del Campidoglio in Rome.

The reasons prompting a first attribution to the hand of the Tuscan genius were cautiously described by Orest Kormashov and Kadi Polly, in the context of the conference A Key to Leonardo, where the important scientific data on the radiocarbon dating of the wooden panel and pigments were presented. Further evidence confirming this hypothesis came to light with the subsequent recovery of a fingerprint found on the panel’s pictorial film, compatible with the fingerprint recovered on the painted surface of the Lady with the Ermine (Dama con l’ermellino), the autograph masterpiece of Leonardo in Krakow, Poland.

The Lucan portrait was finally proposed as part of Leonardo’s oeuvre by Peter Hohenstatt, on the occasion of the exhibition Leonardo e il Rinascimento fantastico (Leonardo and the Fantastic Renaissance, Sorrento 2010) with a presentation by Alessandro Tomei and Maria Cristina Paoluzzi : the exhibition, considered a real success for the wooden panel, focused on the imposing critical analysis formulated by the German scholar and on the hypothesis of orienting its dating to the phase of studies on optics, conducted by Leonardo after 1500 and in any case before 1510. Apart from the chronological debate, that Dr. Nicola Barbatelli considers to narrow down to between 1507 and 1512, it is good to clarify that the acknowledgement of this piece to Leonardo’s art, remains necessarily bound to the extensive amount of studies and diagnostic investigations, which, more than any other consideration of historical-artistic nature, tend to the catalogue of the genius from Vinci. Another important element that prompted Peter Hohenstatt to attribute the present painting to Leonardo is the mention of a self-portrait of Leonardo, quoted by the Abbot Domenico Romanelli in the Ruffo of Baranello Collection in Naples, at the end of the 18th century.

The painting’s attribution to Leonardo is first and foremost based on rigorous scientific analyses, yet its style can only further confirm such an attribution, thus providing to the ongoing studies new elements from which to draw more hints.

Although the bad pigmentary drying and the important damages recorded on some points of the painting’s surface do not allow an integral reading of the painting, the exceptional quality of this work, executed by means of a simple and very linear chromatic syntax, renders the impression of a product of extraordinary quality, which nevertheless deserves to be discussed within the framework of Leonardo’s scientific interests, i.e., his studies on optics and especially on binocular sight.

The Lucan portrait is preserved in the collections of the Museo delle Antiche Genti di Lucania (Potenza, Basilicata), where it is currently exhibited to the public as a work attributed to Leonardo da Vinci.

The painting was presented for the first time to the Chinese public in 2013 in Jinan (“The 10th Festival of International Art in the World”, curated by V. Sanfo), a second time in Taipei in 2015 (“Leonardo. Images of a Genius”, curated by A. Rossi), and a third time in Shanghai in 2017 (“Miracle : The Bellini Family and the Renaissance”, curated by Luigi Bellini and Alessandro Vezzosi). In this most iconic year, the Lucanian portrait will travel to Beijing, Shanghai and Shenzhen, simultaneously marking the celebrations marking the 500th anniversary of Leonardo da Vinci’s death in Italy, and of the 70th anniversary of the founding of the People’s Republic of China.

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Jessica Radich
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