Andrew Solario was the most talented Milanese pupil of Leonardo da Vinci. He has mastered many painting techniques of the great masters, but I could not learn what Leonardo called the most difficult in painting: the ability to gesture "to convey the motion of thought." However, in the works of Solario no plagiarism, his work is an experience of the lessons of Leonardo, sometimes overly emotional, even nervous, it opened up the beginning of a new view of the painting, which received its development in the nineteenth century "Madonna with the green cushion" is a work executed in the period when Solari worked in France and his success in court was obvious.
The Italian artist. Solari, belonged to the family of the famous Milanese artists and artisans who worked in Lombardy, Venice and Rome. In his youth, along with his elder brother of the sculptor Cristoforo, nicknamed Gobbo, he worked in Venice where in 1495 wrote the "Madonna with child and two saints" for TS. San Pietro in Murano (now Milan, the Pinacoteca di Brera). Inspired by Antonello da Messina, this work also recalls the early work of dürer that is noticeable in the following time "the Madonna with carnations" (ibid.). At the turn of the century, Solario created a series of amazing portraits ("Portrait of a nobleman", Boston, Museum of fine arts; "Portrait of a nobleman with a carnation", London, NAT. Gal.; portrait of Cristoforo Longoni, 1505), in which the influence of dürer combined with the influence of Leonardo and of painting of Umbria, and Ferrara, which resulted in the art, reminiscent of the early Lot. In the eclectic "the Crucifixion" (1503, Paris, Louvre) mixed features of painting of Umbria, Ferrara and Cremona, and in the Annunciation (1506) free, but only individual appeal to the techniques of Leonardo, gives the picture an almost Dutch airiness and transparency. Communication, Solario with levandowski circle in Milan coincided with his trip to France in 1507. The frescoes in the castle of Gaillon was not preserved, but from his stay in France remained "Madonna with the green cushion", the gift of cardinal Ambassage the Franciscans of Blois (Paris, Louvre), "Pieta", written for him (ibid.) and "the Head of John the Baptist" (1507), marked the beginning of one of the most successful "series" Solario written in the typical Northern manner, and is known for the numerous original paintings, replicas and copies ("Ecee homo", "Christ carrying the cross", "Salome with the head of John the Baptist"). According to a recent hypothesis, Solaria may have influenced early portraits by Jean Clouet. There is no doubt that on his return from France in 1510 the quality of his large religious compositions sagged and evidence of knowledge of artist Roman painting ("Pieta," Washington, NAT. Gal.; a later and incomplete "assumption of Mary", Pavia, Certosa). On the contrary, the portraits retain a high level ("Lady with a lute", Rome, NAT. Gal., Galleria Barberini); in some of them, like Solaria competes with Holbein.