The conception of Leonardo da Vinci's cartoon of Isabella d'Este in the Louvre is examined, first by contrast to the artist's psychological rendering of the Lady with the Ermine (Cecilia Gallerani) in Cracow, and then in light of Isabella's cultural aspirations, which lent a classical aura to her portrait.
© 2001-2024 Fundación Dialnet · Todos los derechos reservados