PROVENANCE: Galerie Brunner, Paris; Gentile di Giuseppe, Paris; F. Kleinberger, New York, 1956; BJU, 1956.

Marco d'Oggiono's training is not documented with certainty; however, he probably worked in the studio of one of the greatest artists who ever lived-Leonardo da Vinci. Although d'Oggiono did not gain much recognition as an innovator, as a pupil he skillfully learned his master's style and produced a number of faithful copies. In fact, the composition for this rare panel probably is derived from one of da Vinci's lost paintings. It certainly derives from at least two of da Vinci's other celebrated works. The poses of both John the Baptist and Christ are found in the Virgin of the Rocks while the pose of Mary is derived from the Virgin and Child with St. Anne and the Lamb, both by Leonardo and housed in the Louvre.

One of the Leonardesque characteristics evident in this work is the softly shaded modeling of the figures called sfumato. This technique of Leonardo's invention was inspired by his scientific studies of the effects of light and is used by d'Oggiono to soften the sharp edges of his figures. Consequently, the figural contours subtly dissipate into the natural surroundings to create a unified and harmonious whole. Another interesting motif d'Oggiono borrows from da Vinci is the rocky shelf separating the figures from the view, which is present in both the Virgin of the Rocks and the St. Anne.

The penchant for High Renaissance artists to use triangular figural arrangement is again displayed, as in the Granacci Rest on the Flight into Egypt. Comparing and contrasting the present Madonna of the Lake with the Rest on the Flight into Egypt provide an instructive display of the stylistic and compositional similarities and differences of Leonardo and Michelangelo, whose compositions are believed to have been the basis for both works respectively.