FIRST VISIT TO MILAN

About 1482 Leonardo entered the service of Ludovico Sforza, having first written to his future patron a full statement of his various abilities in the following terms:— abstract art oil paintings
"Having, most illustrious lord, seen and pondered over the experiments made by those who pass as masters in the art of inventing instruments of war, and having satisfied myself that they in no way differ from those in general use, I make so bold as to solicit, without prejudice to any one, an opportunity of informing your excellency of some of my own secrets." wall art oil paintings

[PLATE IV.-THE LAST SUPPER Refectory of St. Maria delle Grazie, Milan. About 13 feet 8 ins. h. by 26 ft. 7 ins. w. (4.16 x 8.09)]


He goes on to say that he can construct light bridges which can be transported, that he can make pontoons and scaling ladders, that he can construct cannon and mortars unlike those commonly used, as well as catapults and other engines of war; or if the fight should take place at sea that he can build engines which shall be suitable alike for defence as for attack, while in time of peace he can erect public and private buildings. Moreover, he urges that he can also execute sculpture in marble, bronze, or clay, and, with regard to painting, "can do as well as any one else, no matter who he may be." In conclusion, he offers to execute the proposed bronze equestrian statue of Francesco Sforza "which shall bring glory and never-ending honour to that illustrious house." original oil paintings wholesale
It was about 1482, the probable date of Leonardo's migration from Florence to Milan, that he painted the "Vierge aux Rochers," now in the Louvre (No. 1599). It is an essentially Florentine picture, and although it has no pedigree earlier than 1625, when it was in the Royal Collection at Fontainebleau, it is undoubtedly much earlier and considerably more authentic than the "Virgin of the Rocks," now in the National Gallery (Plate III.). large oil paintings for sale

He certainly set to work about this time on the projected statue of Francesco Sforza, but probably then made very little progress with it. He may also in that year or the next have painted the lost portrait of Cecilia Gallerani, one of the mistresses of Ludovico Sforza. It has, however, been surmised that that lady's features are preserved to us in the "Lady with a Weasel," by Leonardo's pupil Boltraffio, which is now in the Czartoryski Collection at Cracow.  modern oil paintings