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Leonardeschi is the name of group of numerous artists who worked in studio or under influence of Leonardo da Vinci. In 1472 da Vinci joined the guild of St Luke and at the ending of 1477 he left studio of Andrea del Verrocchio as an independent artist. In 1482 Leonardo came to Milan where he stayed with Giovanni Ambrogio de Predis, Evangelista de Predis and their four brothers, who all were artists of different kinds. Both Predis brothers are known for having collaborated with Leonardo da Vinci in the painting of the Virgin of the Rocks for the altarpiece in the chapel of the Confraternity of the Immaculate Conception at the Church of San Francesco Grande, Milan. In 1490 Leonardo earned recognition and a breakthrough at the court of Ludovico Sforza and because of scale of works he was granted Leonardo could have assistans and pupils in his own studio.

Milan

Among Leonardo’s pupils at this time were Giovanni Antonio Boltraffio, Ambrogio de Predis, Bernardino de' Conti, Francesco Napoletano, Andrea Solario, Marco d'Oggiono, and Salai (known as Giacomo Caprotti or Andrea Salaino). In a letter for Ludovico in 1496 Leonardo claims having maitain 6 poeple at the time. Along with original pupils of Leonardo, during the second stay in Milan in 1508 Leonardo had relationships with other Milanese artists, such as Il Sodoma (Giovanni Antonio Bazzi) and Giovanni Francesco Rustici and young Francesco Melzi, whos parents had a manor house at Vaprio, Milan. Such artists as Giampietrino, Bernardino Lanino, Cesare da Sesto, Cesare Magni, Martino Piazza da Lodi and Bernardino Luini are also ascribed to circle of Leonardo, while Giampietrino and Cesare da Sesto are represented as pupils in monument to Leonardo at Milan.

Spain

During the first decades of the 16th century a number of Spanish painters visited Florence. Fernando Yanez de la Almedina and Hernando de los Llanos, documented as collaborators with Leonardo on the Battle of Anghiari, mixed typical Spanish austerity with a taste for perspective and Italianate structural novelty. Both artists continued their artistic association on returning home to Spain.

Northern Europe

In 1494 - 95 and again in 1505 - 1507 the German artist Albrecht Dürer traveled to Venice, Italy. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the geometrical construction of shadows, a technique of Leonardo da Vinci. Several Dürers engravings show a clear interest in works of Leonardo, f.e. The Small Horse is based upon Sforza Horse by da Vinci. During the second stay in Venice Dürer was influenced by Leonardos cartoon of Christ among Doctors, which at the time was commisioned by Isabella d'Este, while Dürer made a version of the subject by his own, now held at Museo Thyssen-Bornemisza, Madrid. That is the only painting of Dürer directly influenced by Leonardo, however, Dürer introduced new subjects developed by Leonardo in his art (f.e. the figure of young St. John the Baptist into composition of Madonna with the Siskin in 1506, which was not familiar to Venetian art at the time). Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and — mainly through Lorenzo di Credi — Leonardo da Vinci.

It is also believed that Quentin Matsys had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists (his Madonna and Child with the Lamb, inspired by The Virgin and Child with St. Anne, and also A Grotesque Old Woman (or The Ugly Duchess) reflects da Vinci's inflences).This is largely regarded as proof that Matsys was greatly influenced by Italian Renaissance artists and that he most likely travelled to Italy for at least a brief period. In 1516 or 1517 Leonardo da Vinci joined the court of Francis I of France. Coincidencely, a Flemish painer Joos van Cleve as a portrait artist was acknowledged by a summons to the court of Francis I of France. There he painted the king, queen, and other court members. Also it is thought, that while traveling, Joos van Cleve also spent some time in Italy as well as France. Like Quentin Massys, a fellow artist of Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci. Joos van Cleve is often called Leonardo of the North, and paintings by the Italian Renaissance artists Giampietrino (Madonna of the Cherries) and Marco d’Oggiono (The Infants Christ and John the Baptist Embracing, known as The Holy Infants Embracing), both assistants in the workshop of Leonardo da Vinci, was a major influence on the Antwerp master. Joos van Cleve produced numerious his own versions after these models, endowed them with his own style and thus created painted series of the most successful motifs of the time. His son Cornelis van Cleve substained artistic interest in Leonardos art, producing several copies of his fathers work and Madonna of the Yarnwinder himself.

Source

White Michael. Leonardo da Vinci. The First Scientist. St. Martin's Press, 2000
Murray Peter, Murray Linda. The Art of the Renaissance. Thames and Hudson Ltd, London, 1997.
http://www.all-art.org/early_renaissance/leonardo_da_vinci28.html
http://commons.wikimedia.org/wiki/Category:Leonardeschi
http://en.wikipedia.org/wiki/Joos_van_Cleve
http://www.codart.nl/exhibitions/details/2203/
http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer

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 '''Leonardeschi''' is the name of group of numerous artists who worked in studio or under influence of [[Leonardo da Vinci]]. In 1472 da Vinci joined the guild of St Luke and at the ending of 1477 he left studio of [[Andrea del Verrocchio]] as an independent artist. In 1482 Leonardo came to [[Milan]] where he stayed with [[Giovanni Ambrogio de Predis]], Evangelista de Predis and their four brothers, who all were artists of different kinds. Both Predis brothers are known for having collaborated with Leonardo da Vinci in the painting of the ''[[Virgin of the Rocks]]'' for the altarpiece in the chapel of the Confraternity of the Immaculate Conception at the Church of San Francesco Grande, Milan. In 1490 Leonardo earned recognition and a breakthrough at the court of [[Ludovico Sforza]] and because of scale of works he was granted Leonardo could have assistans and pupils in his own studio.
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 ==Northern Europe==
 In 1494 - 95 and again in 1505 - 1507 the German artist [[Albrecht Dürer]] traveled to [[Venice]], Italy. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the geometrical construction of shadows, a technique of Leonardo da Vinci. Several Dürers engravings show a clear interest in works of Leonardo, f.e. ''The Small Horse'' is based upon ''Sforza Horse'' by da Vinci.
 During the second stay in Venice Dürer was influenced by Leonardos cartoon of ''Christ among Doctors'', which at the time was commisioned by [[Isabella d'Este]], while Dürer made a version of the subject by his own, now held at [[Museo Thyssen-Bornemisza]], [[Madrid]]. That is the only painting of Dürer directly influenced by Leonardo, however, Dürer introduced new subjects developed by Leonardo in his art (f.e. the figure of young St. John the Baptist into composition of ''Madonna with the Siskin'' in 1506, which was not familiar to Venetian art at the time). Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including Raphael, Giovanni Bellini and — mainly through [[Lorenzo di Credi]] — [[Leonardo da Vinci]].
 It is also believed that [[Quentin Matsys]] had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists (his ''Madonna and Child with the Lamb'', inspired by The ''[[Virgin and Child with St. Anne]]'', and also ''A Grotesque Old Woman'' (or ''[[The Ugly Duchess]]'') reflects da Vinci's inflences).This is largely regarded as proof that Matsys was greatly influenced by Italian Renaissance artists and that he most likely travelled to Italy for at least a brief period.
 In 1516 or 1517 Leonardo da Vinci joined the court of [[Francis I of France]]. Coincidencely, a Flemish painer [[Joos van Cleve]] as a portrait artist was acknowledged by a summons to the court of Francis I of France. There he painted the king, queen, and other court members.
 Also it is thought, that while traveling, Joos van Cleve also spent some time in Italy as well as France. Like [[Quentin Massys]], a fellow artist of Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci. Joos van Cleve is often called ''Leonardo of the North'', and paintings by the Italian Renaissance artists [[Giampietrino]] (Madonna of the Cherries) and Marco d’Oggiono (''The Infants Christ and John the Baptist Embracing'', known as ''[[The Holy Infants Embracing]]''), both assistants in the workshop of Leonardo da Vinci, was a major influence on the Antwerp master. Joos van Cleve produced numerious his own versions after these models, endowed them with his own style and thus created painted series of the most successful motifs of the time. His son [[Cornelis van Cleve]] substained artistic interest in Leonardos art, producing several copies of his fathers work and ''[[Madonna of the Yarnwinder]]'' himself.
 ==Source==
 * White Michael. Leonardo da Vinci. The First Scientist. St. Martin's Press, 2000
 * Murray Peter, Murray Linda. The Art of the Renaissance. Thames and Hudson Ltd, London, 1997.