Wednesday, 21 September 2011

Christ to Coke promotion and the new Leonardo

Much activity during the last few days promoting the book, although it is not actually published until late October. First the book launch in the Feather's Hotel Woodstock. The first outing for my Che jacket (plate 6.14 in the book), and I wore no socks as a homage to Einstein. Yes, he really did not wear socks. Then speaking on the Sunday at the Woodstock Literary Festival. It's always unnerving for someone who has spent most of their career speaking to captive audiences to rely upon people turning up because they have decided to do so. At least the audience was a good size. Interesting questions.
Talking about the book in 40 mins is tricky, since there are 11 images. Running through them with 3-4 mins allocated to each would be pretty tedious. I decided, after an intro, to run through all 11 quite rapidly - partly to stimulate some audience thinking: "surely such-and-such an image is more famous that that one..." I then explain that I am taking leading examples of types of iconic image rather than providing a top 11. I can then explore some of the quirkier and more powerful stories for selected images. I find it difficult not to stumble when discussing the napalmed girl in Nick Ut's harrowing photograph and the events at Iwo Jima immortalised in Joe Rosenthal's  shots of the marines raising the flag. There is something in this talk on which to build for future outings.
On Monday at 9.00 Start the Week on Radio 4 with Andrew Marr. We have worked together before. He is professional, clever and draws very well! My fellow guests, Misha Glennie, Jane Parvitt and Tom Uglow (son of Jenny, the author), mesh together pretty well. It was fun. As I hoped, the range of material in C to C provides people with diverse interests their own way in.  Then to the Wallace collection restaurant for an interview with Kathy Brewis for the Sunday Times magazine. We concentrate on the "new" Leonardo, the Salvator Mundi, which is to make its public debut at the National Gallery in London in October. The interview was set up by OUP, and I am providing some exclusive information as promised. I would not necessarily have chosen the Sunday Times, but it's a question of who will provide the best coverage. I'll try to put up an image.
Monday is devoted to writing a piece for a Spanish Newspaper. They have asked for 100-150 words on each of my team of 11. (I've just realised that 11 is the number of players in football, cricket and hockey teams - the latter  my main sport). It's a real challenge, compressing things to that degree - a bit oppressive, and I go for a walk having done 5 of them. But I think it works, and it is a salutary exercise. I'll post it once it's been published. 


  1. Michael W. Domoretsky the true Salvator Mundi

  2. Various tests and close examination has convinced experts this painting in red and blue is genuine. Monochromatic sodium lighting, infra-red and ultra-violet tests were performed and, along with x-rays, these have revealed a number of interesting details:
    The pearls around the jewel have been altered.
    A cross has been removed from the orb (not very successfully). Leonardo deviated from his basic sketch very little. Infra-red tests showed up the original sketch behind the painting.
    X-rays show the paint has been applied in layers on a wooden base. This technique was used often by Leonardo during his last five years of work.
    A thick coat of varnish has been added.
    Nut wood was used for Salvator Mundi, the same was used on St. John the Baptist. The triangular composition, light angles, facial shadows and hair swirls are typical of many of Leonardo's paintings, while the colors used are reminiscent of the Last Supper.
    Typical of Leonardo, many of the objects in this painting have a deeper significance which is not at first obvious to the eye:
    The eight-pointed centre star signifies resurrection and corresponds to the eight lines of the threads found on the stole. The ruby represents martyrdom and passion. An unusual vestment tuck seen on the right-hand side of the stole signifies the lance piercing Christ's side. What we now see as a globe was originally an "orb" (when surmounted by the cross); it probably recalls the words, "I am the Light of the world. “The stole symbolizes the Voice of Immortality. Catholic priests don stoles as a sign of accepting the New Covenant.

    One issue that is always before us is this: What is of great worth and more intrinsic value, the representation or the reality? The symbol or the reality which is being symbolized? The ritual or the reality that the ritual is designed to celebrate?
    The “Red and Blue Painting below, is the True Leonardo, da Vinci Painting.The Blue painting hanging in The National Gallery of England on display now with the collection of true Leonardo, da Vinci Paintings, is owned by Robert Simon a private art dealer in New York and his group, and though Leonardo drew the raised hand in the preparatory drawing was completed by someone other than Leonardo, likely Leonardo's student.

    The structural layout of the "student's" "blue" painting below of Salvator Mundi, is unintentionally asymmetric, unlike Leonardos work which is always perfectly balanced and proportioned. There is only one symbol in evidence, now referred to as a globe. Previously the word globe would have been referred to as an "Orb”. Other unfortunate changes in the student’s work is that the mushroom, which stands for the cipher "M" has vanished as a symbol. (Refer to the 6th picture above), and the “Templar Cross" below it,clearly seen in the red and blue painting by Leonardo, is also missing. This means that two very significant symbols are missing, from a very important painting. A very clear indication that Leonardo did not complete the "blue" painting.

    The da Vinci Project, Research Group
    Founder, Michael W. Domoretsky.