Please call us at (949) 675 – 3962
e mail us ardenia@roadrunner.com
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Hi,
Are there any job opportunities available working for you? I have a Bachelor of Fine Arts degree and an art history background. Just thought I’d ask.
Thank you,
Cameron Knuth
Unfortunately there is no position availablet at this time. t
Thank you,
Ardenia Capannelli
You have done some incredible work restoring a bit of history in each piece you complete. You truly have a rare talent.
Symmetry, Color, Intention and hidden images
It is a well-documented fact that lionardo da Vinci had a philosophy and penchant for infusing science and mathematics, with extreme accuracy into his every artistic endeavor. It leads to the supposition that his artworks would reflect his almost obsessive search for truth and accurate portrayal of everything around him. The artworks after all were an extension of the expression of his scientific studies. Using what is known about Lionardo from his writings and codex’s as a starting point to review the Salvatore Mundi original and “restored” images, yields a number of anomalies in the restored painting that are inconsistent with Lionardo’s techniques, and his uniquely accurate portrayal of geometric symmetry, color, shadowing and scaling, while the original pre-restored version has all the hall marks that Lionardo used consistently throughout his other art works.
Examples of the inconsistencies in the Blue restored painting include:
Issues of symmetry, size and alignment:
Using the tip of the nose as a center point, the mouth nose and eyes are unequally distanced.
The pupils of the eyes are of substantially different size and lack the detail for which Lionardo was so famous
The size of the eyes are not proportioned properly and the eye alignment is incorrect
The spacing of the eyes from the nose is disproportionate
The mouth is disproportionate and misaligned
Issues of detail:
The details of the hair on opposing sides lack the fine detail that Lionardo invariably put into his paintings
The Adams apple is missing on the restored version
The color of the restored painting lacks the fine and vibrant colors that Lionardo used in his works
The eyes do not have the sense of life that all lionardo’s portraits contain
The orb in the subject’s hand has no detail and the reflections are incorrect
The shadowing is inconsistent with the lighting
The button on the tunic has no fine detail
In the original pre-restored painting contains the telltale signs of Lionardo’s techniques, understanding of light and shading and contains many encrypted micro images that we have discovered as a trait across all of his works.
All of the facial features align properly.
The colors are vibrant and consistent with those lionardo used in other paintings.
The Adams Apple is clearly visible.
The curls in the hair are more detailed
All of the facial features are more life-like that the restored version
The orb exhibits proper reflections and contain a number of micro images and symbols that are consistent with findings in other of his works.
The Button on the center of the crossing bands on the tunic are an 8 point star
A comparison of the face to those in other Lionardo works yields a marked similarity in the structure and tenor of the faces among all of lionardo’s subjects, (missing in the restored version.)
It is our considered opinion that the restored version of the painting is that of another very good, but less accomplished artist perhaps a student, while the un-restored and now destroyed painting over laying the restored version was the work of Lionardo, da Vinci. A very unfortunate decision was made to assume that the original needed to be sacrificed in a gamble on the authenticity of what was underlying. Were the hallmarks we have discovered and catalog recognized as attributes included in his art by Lionardo, in the top layer, it would have been immediately clear that the original top layer is a work of Lionardo and a tragic loss would have been averted.
Seeking like-minded people who are interested in Lionardo, da Vinci and his masterpieces in the 15th and 16th, century, we are also interested in the Artists and masters in the circle around him in this time period. We welcome serious discussion by people who want to share their thoughts, theories and feelings with The da Vinci Project, Research Group
We try to answer inquiries whenever possible, but the volume of emails is very high making this difficult, so please forgive us if we cannot respond to everyone.
Remember; Everything is something, and something is everything, and that everything, can be turned into something else. /*)(*\
Looking for new members to get involved with the group, link bellow
https://www.facebook.com/groups/200916973314185/