Colnaghi Collections_Vol 01 - Page 52

Castello Sforzesco in Milan (fig. 4.1); and a painting on panel
in the Pinacoteca Malaspina in Pavia (fig. 4.2), which has been
attributed to a painter from Lodi, possibly Girolamo Melegulo.
The present work demonstrates that Yáñez de la Almedina was
also familiar with this Leonardesque composition, which the
artist repeats in a smaller scale in the medallion held by the
Dominican Archbishop Saint Anthony of Florence in a panel in
the Museo de Bellas Artes in Valencia (fig. 4.3) that, together with
seven other panels, once formed part of the doors of a small hand
Fig 4.2 Leonardesque Painter, Christ Carrying the Cross, tempera on panel,
25 x 21 cm, Pavia, Pinacoteca Malaspina.
Fig. 4.3 Fernando Yáñez, Saint Anthony of Florence and Saint Vicent Ferrer (detail),
oil on panel, 56 x 52 cm, Valencia, Museo de Bellas Artes.
organ held in Valencia Cathedral until the eighteenth century.
In the present work, the body of Christ forms a diagonal that
determines the location of the other figures, which are truncated
in the foreground and offset against a dark background. The
sorrowful Christ with his half-open mouth and arched eyebrows
has tears on his face and the marks of the flagellation on his back.
Unlike other the versions after Leonardo’s composition in the
Castello Sforzesco and the Pinacoteca Malaspina, the present
example, which is of notable pictorial quality, includes a third
executioner, visible in profile on the far left. This distinctive
The gilded edging of Christ’s tunic with its stylized foliate
motifs also includes gold dots, as in other works by the artist.
Again typical of Yáñez’s oeuvre is the distinctive way of
painting the eyes, defining the inner rims of lids, which are
devoid of lashes. The artist also employs a degree of realism,
showing the passing of time on faces through deeply set lines
and puffy areas under the eyes.
J osé G ómez F rechina
figure was clearly invented by Yáñez to balance symmetrically
the thuggish figure on the right, who grasps a lock of Christ’s hair
in his closed fist, a motif borrowed from Leonardo’s invention.
The design of Christ’s halo is found in other works by the artist,
Fig. 4.1 Leonardesque Painter, Christ Carrying the Cross, oil on panel, 44 x 36 cm,
Milan, Pinacoteca del Castello Sforzesco.
with rays of light and gold dots inside a double-rimmed halo. It
reappears in the panel of Christ Between Saints Peter and John in
the Abelló Collection (oil on panel, 75 x 62 cm), and in another
Leonardesque work, a Head of Christ, recently acquired by the
Metropolitan Museum of Art (fig. 4.4).3
Giovanni Gaye, Carteggio inedito d’artisti dei secoli XIV, XV, XVI, 3 vols. (Florenece:
Giuseppe Molini, 1940), I, p. 90.
For the drawing see Carmen C. Bambach, ed., Leonardo da Vinci, Master Draftsman,
exh. cat. (New York: The Metropolitan Museum of Art, 2003), pp. 423-426, no.
62. For the influence of the drawing on the work of Yáñez and Llanos, as well
as other followers see most recently Pedro Miguel Ibáñez Martínez, La huella de
Leonardo en España, exh. cat. (Madrid: Canal Isabel II, 2011), pp. 103-107.
See José Gómez Frechina, Los Hernandos: pintores 1505-1525/ ca. 1475-1536
(Madrid: Ars Hispanica, 2011), p. 36.
Fig. 4.4 Fernando Yáñez, Head of Christ, ca. 1506, oil on poplar,
41.9 × 30.5 cm, New York, The Metropolitan Museum of Art.


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