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For there really is a problem with this painting and it is there for anyone to see. Hope the buyer understands conservation issues. All the previous repaints have been cleaned off to reveal an image with streaky gaps, including a sizeable few running from top to bottom.

The Painting Experience

In fact, the photograph was something of a bombshell, a glimpse of a painting that looks dramatically different from the restored version. Time had left Christ partly bald, with impaired eyes, yet the face was truly beautiful — smooth and harmonious but anatomically precise. It is completely different, in tone and feeling, from the smoky, ambiguous appearance of the painting today, after its full treatment by the respected restorer Dianne Dwyer Modestini.

If the scars of age are even more visible, so is the youthful beauty of Christ.

current exhibitionS

I took this troubling theory to Robert Simon, the man who discovered Salvator Mundi along with two business partners. They bought this apparently insignificant picture at a Louisiana auction in Simon is passionate about Leonardo and, when he started to think this was something more than a bad copy, set about carefully researching its provenance, while bringing in Modestini to restore it.

It paid off when they showed the partly retouched painting to Nicholas Penny, who was then about to take over as director of the National Gallery in London. Penny was right. Only about 20 paintings by him survive. Others are known to have been lost or destroyed, but he was never prolific. Those few existing paintings have been treasured, making the reappearance of a forgotten one even less likely. Yet, even before it reached the National Gallery, the painting had been worked on.

The Painting

They parodied religious themes, mocked piousness, presented death and destruction in surprisingly realistic detail and elevated peasants to central roles. He showed us a comic, violent, and sometimes ugly universe of common folk at a time that the Spanish Inquisition was sweeping Europe in the 16th century.

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Was he afraid of retribution because his drawings were too subversive? Spronk said. Bruegel himself made changes to his own compositions that might give us clues about his perspective. Like other 16th-century masters, he constructed his paintings painstakingly on wood panels, layer by layer. He started with a light-colored foundational surface, known as the ground, made of chalk and animal glue, on which he would sketch out his composition.

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