Leonardo da Vinci: Drawings from the Biblioteca Reale in Turin

This weekend I had the opportunity to visit the San Francisco Legion of Honor in order to see the ‘Leonardo da Vinci: Drawings from the Biblioteca Reale in Turin‘ exhibit. I was looking forward to seeing the exhibit as I have always valued da Vinci, as one of the greatest artists in history and for his advancements in theoretical science. However, upon visiting the exhibit, I was sadly disappointed with the content. The exhibit held approximately 20-25 sketches, the majority of which were relatively simple, rudimentary, and uninspired. Although I recognize that these pieces are of great importance in art history and in understanding da Vinci’s process, I was no all that impressed. Da Vinci has done some incredible artwork, however, I don’t think that was at all representative of the evolution of those pieces; they reminded me more of random notebook sketches. The following is the description from the Legion’s website:

This is the first U.S. exhibition of one of the most significant collections of drawings by Leonardo da Vinci. The drawings from the Biblioteca Reale in Turin detail the extensive range of Leonardo’s interests, including pointed observations, fantastical explorations, anatomical studies, and working drawings such as the Study for the Angel (1485) in the painting Madonna of the Rocks. Dating from about 1480 to 1510, the works traverse the arc of Leonardo’s career.

However, on the way to the exhibit, I passed through the European collection which held some beautiful biblical pieces. Some of which brought to mind the nostalgia of Indiana Jones in the Last Crusade. Below are some of my favorites:

The Holy Trinity (God the Father, God the Son, and God the Holy Spirit), ca. 1475, French, Limestone with traces of color.

Two Scenes from the Passion of Christ: The Flagellation and The Crowning of Thorns, early 16th century, Master of Cappenberg, German, oil on wood panel.

The Annunciation, 15th century, Master of the Retable of the Reyes CatÛlicos, Spanish, oil on pine panel.

St. Francis Venerating the Crucifix, circa 1595, Domenikos Theotokopoulos (El Greco), Spanish, oil on canvas.

Pieta, 1876, William-Adolphe Bouguereau, French, oil on canvas.

Christ at the Column, 1632, Pieter Fransz de Grebber, Oil on panel.

That final one was very striking; truly moving. This was the depiction of Mark’s Jesus: beaten, mocked, deserted, forsaken and even ashamed. As Mark put the words in Jesus’ mouth: