Unveiling The Mystery Of Salvator Mundi: The Last Da Vinci Painting

You might recall the controversy surrounding Salvator Mundi, the so-called "last da Vinci" painting that resurfaced in 2005 and sold for just $10,000 at an estate sale before it was attributed to legendary artist Leonardo da Vinci. After this attribution, it became the most expensive painting in the world, selling for a staggering $450 million in 2017. However, this remarkable journey has been overshadowed by skepticism, as many art critics question whether the painting was genuinely created by da Vinci himself or one of his pupils.

In an essay for ArtWatch UK, art expert Jacques Franck has cast new doubts regarding the painting's true origins. Franck's approach does not rely on scientific analysis or historical context; instead, he utilizes his deep understanding of da Vinci's style and techniques to argue that Salvator Mundi does not meet the celebrated artist's standards. For instance, Franck highlights peculiarities in the painting's design that diverge from da Vinci's known mastery of human anatomy.

One of his significant observations is the positioning of the fingers in the painting. He notes, "When the index and the middle finger are raised fully, one cannot bend the other fingers inside the palm extensively as observed in the Salvator Mundi's blessing hand. It is therefore an unlikely movement." This critique aligns with further analysis from ArtWatch UK Director Michael Daley, who asserts that the anatomical issues present in the hands indicate that they could not have been painted by Leonardo.

Exploring the Artistic Techniques of Leonardo da Vinci

Leonardo da Vinci is celebrated for his exceptional skill and meticulous attention to detail. His works often exhibit a profound understanding of human anatomy, which is why the discrepancies highlighted by Franck raise significant doubts about Salvator Mundi's attribution to him. Scholars note that da Vinci placed a high value on realistic representation in his art, capturing the subtleties of human expression and movement.

Franck's specific critiques focus on various elements of the painting, such as the unusually long and thin nose and the flat orb held in the subject's hand. These features contrast sharply with da Vinci's known stylistic choices, leading to further speculation about the painting's true origins. For instance, the mechanical quality of the hair and the shadowing around the neck do not reflect the organic fluidity typical of da Vinci's works.

Art Historical Context

Understanding the context within which da Vinci worked can also illuminate the ongoing debates surrounding Salvator Mundi. During the Renaissance, artist workshops often collaborated, leading to shared techniques and styles. It is plausible that the painting could be a product of da Vinci's workshop, possibly executed by his assistants, Salai or Baltraffio, who were known to have worked closely with him.

Furthermore, the painting's initial attribution to Baltraffio suggests that it may not have been painted by da Vinci at all. This point adds another layer to the debate, as scholars attempt to trace the painting's history and its various attributions over the centuries. The quest for authenticity in art continues to be a complex interplay of historical records, expert opinions, and subjective interpretations.

The Ongoing Mystery of Ownership

After its record-breaking auction in 2017, the current whereabouts of Salvator Mundi remain uncertain. Reports suggest that the painting was purchased by Saudi crown prince Mohammed bin Salman, but its exact location following the sale is still shrouded in mystery. This lack of transparency only intensifies the intrigue surrounding the painting and its authenticity.

As the art world continues to debate the painting's origins and the implications of its sale, the question of whether Salvator Mundi is genuinely a work of Leonardo da Vinci remains unanswered. The painting stands not only as a symbol of artistic brilliance but also of the complexities involved in art attribution and the commercial art market.