Colnaghi Collections_Vol 01 - Catalog - Page 59
Fig. 5.3 Leonardo da Vinci, Study of Two Warriors’ Heads for the Battle of
Anghiari, ca. 1504-1505, charcoal or soft black chalk with traces of red
chalk on left, 19.2 x 18.8 cm, Budapest, Museum of Fine Arts.
accepts his fate, turning his gaze downward, seemingly unaware
of his mockers or the substantial issue of blood from the wounds
imparted by his Crown of Thorns.
Fig. 5.2 Pablo de San Leocadia, Christ Carrying the Cross, oil on panel, 74.7 x 52.5 cm,
Vila-real, Monastery of Corpus Christi and church of Santo Cristo del Hospital.
This Christ Carrying the Cross with Executioners is without a doubt
one of the finest examples of work produced by Llanos during
his Valencian period, alongside his Nativity with Donor from
the Várez Fisa collection, the Flagellation from the Museo de
Llanos introduces a novel marriage of models and influences
Bellas Artes in Valencia, and the panels of the main altarpiece
into his treatment of Christ Carrying the Cross. His executioners, set
of Valencia Cathedral. Together with Yáñez’s treatment of
against a neutral background, are inspired by the Battle of Anghiari,
the subject, it constitutes a superb example of the Hernandos’s
and the shouting figure at the upper left is directly modeled on
unique assimilation of Leonardesque elements into the local
Leonardo’s central horseman in that composition (fig. 5.3). The
idiom, a stylistic union that would have a lasting impact on the
motif of a disembodied hand grasping a lock of the Saviour’s hair
development of Spanish painting.
is also directly copied from Leonardo’s model (see intro. fig. 3) and
appears in all derivations, including Yáñez’s.
J osé G ómez F rechina
In this small devotional panel, Llanos develops the contrast between
Fig. 5.1 Fernando
Llanos, Christ Carrying
the Cross, oil on panel,
46 x 35 cm, Barcelona,
the aggressive and hostile expression of the executioners with the
serene, gentle face of the Redeemer to an even greater extent than
Yáñez. Unlike Yáñez’s figure of Christ and Leonardo’s drawing,
Llanos’s Saviour shows no sign of despair or anguish, but placidly
For an overview see Jonathan Brown, Painting in Spain, 1500-1700 (New Haven
and London: Yale University Press, 1998), pp. 10-15, and for speciliazed studies
on the artist see Los Hernandos. Pintores hispanos del entorno de Leonardo, Valencia 1998
and Pedro Miguel Ibáñez, Fernando Yáñez de Almedina (La incógnita Yáñez) (Cuenca:
Universidad de Castilla-La Mancha, 1999).