Also this painting has a troubled history of attributions: it was originally considered to be by Bernardino Luini, and then even by Leonardo, before being attributed to Leonardo’s most wayward and daring follower, Gian Giacomo Caprotti, called Salai (or Salaino), a name of Arabic origin which is said to mean “little devil”. Art historians today do not commit themselves, talking generically of a Leonardesque painter in the first quarter of the Cinquecento. The artist undoubtedly took inspiration from the Saint John the Baptist now in the Louvre, which is certainly by Leonardo, but there are some substantial differences: the cross that appears in the original is missing and the figure, which Leonardo sets against a dark background, is shown here with effeminate, almost affected features in an idyllic landscape.
From April 15, on the occasion of Design Week, the rooms of the Pinacoteca Ambrosiana will host 'Moleskine Detour', an international exhibition promoted by Moleskine and the Moleskine Foundation.
Recovery of the functionality of the balconies of the Sala Federiciana, Borromeo and della Rosa through the installation of lifelines
Every Saturday at 15.30 a guided tour of the masterpieces of the Pinacoteca, together with professional guides of our official partner AdArtem
