It is believed that “Salvator Mundi” was commissioned by King Louis XII of France and his consort, Anne of Brittany.

This commission likely aimed to celebrate and reinforce the king’s piety and divine right to rule. During the Renaissance, art patronage by royalty was a powerful means of demonstrating wealth, power, and religious devotion.

The painting’s theme, Christ as the Savior of the World, was particularly fitting for a royal commission, serving both as a devotional image and a political statement of the king’s ordained authority.

“Salvator Mundi” experienced a tumultuous journey after its creation, initially gracing the royal collections of King Louis XII of France and later appearing in the collection of Charles I of England. Following Charles I’s execution, the painting was sold and passed through various hands, eventually disappearing from public record.

Rediscovered in 2005 at an American estate sale in a heavily over-painted and damaged state, the painting underwent extensive restoration.

This painstaking process revealed the intricate details and  through scientific and stylistic analyses, experts authenticated the painting as a Leonardo original.

Its public unveiling at the National Gallery in London in 2011 and subsequent record-breaking auction in 2017 underscored its historical and cultural significance, transforming “Salvator Mundi” from an obscured relic to a celebrated masterpiece.

The restoration of “Salvator Mundi” involved meticulous efforts to remove layers of overpainting, dirt, and varnish, revealing Leonardo da Vinci’s original work beneath.

Scientific analyses, including infrared imaging and X-ray fluorescence, were used to examine the painting’s underlying layers and materials, confirming its alignment with Leonardo’s known methods.

Prominent art historians and experts, such as Nicholas Penny and Martin Kemp, supported the attribution, citing stylistic similarities to Leonardo’s other works.

The painting’s inclusion in the National Gallery’s 2011 exhibition further solidified its status as a genuine Leonardo masterpiece, reigniting public and scholarly interest in this remarkable work.

“Salvator Mundi” was prominently displayed at the National Gallery in London’s 2011 exhibition, solidifying its attribution to Leonardo da Vinci and drawing significant public and scholarly interest.

In November 2017, the painting reached new heights of fame and financial value when it was auctioned at Christie’s in New York, selling for a record-breaking $450.3 million to Saudi Crown Prince Mohammed bin Salman.

This unprecedented sale underscored the painting’s immense cultural and historical significance while sparking debates about the commercialization of art and the painting’s authenticity.

Since the auction, “Salvator Mundi” has remained largely out of public view, with speculation about its future display continuing to intrigue the art world.

“Salvator Mundi” has been the subject of significant debate regarding its authorship, with some scholars arguing that the painting was a collaborative effort between Leonardo da Vinci and his workshop rather than being solely executed by Leonardo.

The uneven quality of different sections of the painting supports this theory.

Additionally, the extensive restoration process has drawn criticism, with concerns that it may have significantly altered the original work and thus impacted its value and authenticity.

These controversies influence the painting’s market perception and have led to varied reactions from scholars and the public, highlighting the complexities of attributing and conserving historical artworks.

The ongoing discussions emphasize the need for continued scientific analysis and scholarly dialogue to resolve these issues.

“Salvator Mundi” holds a significant place in the broader context of Renaissance art and within Leonardo da Vinci’s oeuvre.

In the context of Renaissance art, “Salvator Mundi” reflects the period’s emphasis on humanism and the exploration of divine and human realms.

As one of the few surviving works attributed to Leonardo, it provides crucial insights into his artistic methods and thematic concerns, reinforcing his status as a towering figure in art history.