The Scapiliata. A painting in search of his identity

Abstract

Carlo Pedretti’s article edited on 1974, here again published, is the first contribution dedicated exclusively to the Scapiliata in Parma that marks the beginning of the critical fortune of this painting. Until then, except for Quintavalle’s article edited on 1939, the painting of Parma was considered only in the context of monographs or catalogues of Leonardo’s exhibitions. Carlo Pedretti’s study of this single work has opened the way to suggest hypotheses about commissioning, dating, iconographic interpretation, and attribution, still partially discussed. All issues still open. This essay examines the latest critical events, until the last exhibition in 2019, highlighting the importance of recent technical developments, particularly on format and preparation. The author studies the influence of Verrocchio’s prototypes, the comparison with other Leonardo’s drawings, the possible commission and its impact on the innovative iconography of the enigmatic female face, perhaps sacred but earthly, ideal but real.