«Дама с горностаем» (1489–1490) “Lady with an Ermine”
Where it is kept: The National Museum in Krakow, Poland.
Dated to c. 1489–1491, the work is painted in oils on a panel of walnut wood.
The painting was executed in oils on a relatively small, 54 cm × 39 cm (21 in
× 15 in) walnut wood panel.[9][10] It depicts a half-height woman turned toward her right at a threequarter angle, but with her face turned toward her left.[11] The animal in her arms twists in a similar
manner, resulting in considerable contrapposto with the lady,[12] a technique Leonardo explored earlier
with the angel in the Virgin of the Rocks.[13] The work is prepared with a layer of white gesso and a layer
of brownish underpaint.[14] In general, the paint is evenly applied akin to the Mona Lisa, though certain
areas of the lady's skin are more layered.[1] Also present are the subtle remains of spolvero (in the
outline of the face and head), underdrawing (in the right arm, right hand, left hand, top of nose and
edge of the hair),[15] and fingerprints (the face and animal's head), the latter of which are particularly
common in Leonardo's paintings.[1] It is made from a single piece of walnut wood;[16][1] Leonardo
recommended,[17] and favored walnut wood,[18] though it was not commonly used by other artists
in Lombardy.[19] The wood is thin (about 4–5 millimetres (0.16–0.20 in))[14] and is most likely from the
same tree as the wood for his later portrait, La Belle Ferronnière.[1] The Lady with an Ermine is also
connected to La Belle Ferronnière, as well as Leonardo's earlier Portrait of a Musician, due to the three
paintings including black backgrounds.[9]
It is the second of only four surviving portraits of women painted by Leonardo, the others being Ginevra
de' Benci, La Belle Ferronnière and the Mona Lisa.
It is believed that this painting depicts Cecilia Gallerani, the favorite of Duke Ludovico Sforza. The
evidence is indirect, which gives many reasons to discuss this painting. Art historians are also trying to
unravel the symbolism of the white ermine. It is seen as an allusion to Ludovico Sforza, who was a
member of the Order of the Ermine, and a symbol of chastity.
For a long time, researchers argued about the authorship of the painting. It was attributed to the pupils
of the great Italian. But X-ray examination showed that Leonardo was working on the "Lady". There
were finger marks on the canvas. The artist often used his fingers to shade the paint.
The painting traveled to different countries. She was in France, Germany, Austria. And in 2016 it was
bought by Poland.
The ermine
The animal resting in Cecilia's arms is usually known as an ermine. Commentators have noted that it is
too large to be an actual ermine,[30] but its size is explained by its being of a largely symbolic nature. The
art historian Luke Syson notes that "Naturalism is not the point here; Leonardo has created a mythical
beast, the composite of several animals he drew at this time".[10] There are several interpretations of the
ermine's significance and they are often used in combination with each other.[30][31][32] In its winter coat,
the ermine was a traditional symbol of purity and moderation,[10] as it was believed it would face death
rather than soil its white coat.[32]