Renaissance-era painting
Unique shape attributes of the painting manifest with the genius in Leonardo refusing to paint the distortion created by a transparent orb, hence providing the contemporary world with a standard of differentiating faked duplications. The painting masterpiece by a transparent sphere with twinkling inclusions was Leonardo da Vinci intended to attract the gaze of the audience towards the character looking straight in the eyes (Goodrich, & Zhao, 2019). The Renaissance-era painting completed before the era of Anne of Brittany was intended to communicate symmetry through the positioning of hands, with one raised in blessing and the other palm on the orb, thus maintaining unique ratios.
Line attributes in the 26-inch oil-on-panel painting are emphasizing on the symmetry of objects and light interactions off the rock crystals. By having been a master of painting distortions in famous masterpieces such as the Mona Lisa, the artistic genius presented a balance of light and colour perception through three bubbles in the painting, hence the inclusions. The crossing on the Renaissance-era robes dominates the space between the raised hand in benediction and the other holding the orb, artistic preservation of proportions.
Color elements in Salvator Mundi are through Renaissance-era use of simpler shades from the top of the painting to bold colours at the base hence eliminating boring the audience. In the Renaissance-era masterpiece measuring 65.6cm by 45.4cm, the painter avoided the use of shadows to prevent altering the shades, a manifestation of visual harmony (Goodrich, & Zhao, 2019). Perception of mood and original intention by Leonardo is challenging to discern since modern adaptation varies due to photographic processes involved and color temperatures variations over the decades. In modern adaptations, high light levels in places such as national galleries require the use of colour shades that improves visibility, and the ability to be durable over time.
The composition is evident in the art. Dressed in Renaissance-era robes, the masterpieces was intended for King Louis XII of France, hence the grand auction price of more than $ $450,312,500, (£342.1m) in a contemporary world fascinated by works of Da Vinci. The composition juxtaposes a transparent celestial orb in front of a pale blue Renaissance-era robe, representing the heavens the character in the painting was destined to redeem.
Medium style of Salvator Mundi is an original panel of single planks of walnut, thus improving the durability and preservation of colour shades. The painter chose to orient the panel such that the giant knot in the middle of the masterpiece avoids to coincide with the central axis between the character’s eyes. Moreover, painting on poplar was intended to render the colour warm and accommodating, representing the philosophy and cultural attributes of the Renaissance-era. Oil-on-panel painting as a medium style improves the durability of the painting and presentation as a classical composition (Goodrich, & Zhao, 2019). Modern adaptations of the Salvator Mundi utilize oil on canvas compared to single planks of walnut that are challenging to duplicate and offer as fakes. Contemporary art enthusiasts with expert paintings and art have the skills to authenticate Salvator Mundi based on three bubbles as inclusions in the masterpiece for a hefty fee at auctions, attracting noble and able owners including a Prince.