Famous Leonardo Da Vinci Paintings

Leonardo Da Vinci’s numerous skills have earned him the title of renaissance master. Da Vinci’s fascination with science and his in-depth study of human anatomy aided him in mastering the realist art form.
Having lived until the age of 67, Leonardo experienced a very long career that was filled with times during which the painter was celebrated, but at times he was also humiliated and cast away.

You can see High Resolutions da Vinic paining with Zoomify here: http://historyofpaintings.com/leonardo-da-vinci-art-gallery.html

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Baptism Of Christ (c. 1472)

Leonardo was 23 at the time it was painted and part of his contribution was the angel holding the mantle. The kneeling figure already shows signs of characteristics Leonardo would retain and develop throughout the rest of his career, particularly in the luminous tumbling locks of hair, the brightness in the eyes and the sweet look on the face.

Portrait of Ginevra de’ Benci (1474-1476)

Portrait of Ginevra de’ Benci is now owned by National Gallery of Art, Washington, DC and is currently the only painting by Leonardo in United States. Unlike Leonardo’s other portraits of women, this lady looks sulky, unforgiving and haughty. This is emphasised by the slightly smaller cast of one eye, making her look withdrawn.

Madonna of the Carnation (1478-80)

Madonna of the Carnation
The Virgin’s head, the apex of the triangular structure of this composition, is set off from the dark wall by light that comes from both sides to model her face in three-dimensional form–similar to the treatment in the portrait of Ginevra de’Benci. Behind Mary can be glimpsed a scene often repeated in Leonardo’s later work.

The Adoration of the Magi (1481)

Leonardo was commissioned in 1480 to paint this work for the main altar of the monastery of San Donato a Scopeto, near Florence. He was to complete it within thirty months, but it remained largely unfinished and was left behind in Florence when Leonardo set out for Milan the next year.

Virgin of the Rocks (1483-1486)

Virgin of the Rocks one in Louvre and one in London
This painting has 2 versions. One is in the Louvre, Paris, the other is in the National Gallery. Both paintings show the Madonna and Christ Child with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel

Lady with an Ermine (1489–1490)

Lady with an Ermine
The subject of the portrait is identified as Cecilia Gallerani, and was probably painted at a time when she was the mistress of Lodovico Sforza, Duke of Milan and Leonardo was in the service of the Duke. Leonardo’s Lady with an Ermine is one of the most important woks in all of Western art.

The Last Supper (1498)

A work three years in the making, Leonardo Da Vinci’s The Last Supper remains one of the greatest masterpieces of all time. Even over 500 years after the painting was completed, this piece remains one of the most studied paintings in history, and The Last Supper is among the most sold of all Da Vinci posters.

Mona Lisa (La Gioconda) (c. 1503-05)

Mona Lisa- Famous Leonardo Da Vinci Artworks
Mona Lisa
This infamous portrait of Lisa del Giocondo was completed some time between 1503-1519 and currently on display at the Musee du Louvre in Paris.

The Virgin and Child with St Anne (1510)

The Virgin and Child with St Anne was painted by Leonardo Da Vinci on 1510. It is Oil on wood and measures 168 x 130 cm. The original one is now located at Musée du Louvre, Paris.

St. John the Baptist (1513-16)

St. John the Baptist was painted by Leonardo da Vinci during 1513 to 1516, when the High Renaissance was metamorphosing into Mannerism, it is believed to be his last painting. This is an oil painting on walnut wood. The original size of the work was 69×57 cm. It is now exhibited at the Musée du Louvre in Paris, France.

LEONARDO DA VINCI FIRST VISIT TO MILAN

LEONARDO DA VINCI FIRST VISIT TO MILAN

About 1482 Leonardo entered the service of Ludovico Sforza, having first written to his future patron a full statement of his various abilities in the following terms:—

“Having, most illustrious lord, seen and pondered over the experiments made by those who pass as masters in the art of inventing instruments of war, and having satisfied myself that they in no way differ from those in general use, I make so bold as to solicit, without prejudice to any one, an opportunity of informing your excellency of some of my own secrets.”

 

The Last Supper measures 450 × 870 cm (15 feet × 29 ft) and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy.

The Last Supper from the final days of Jesus as it is told in the Gospel of John 13:21, when Jesus announces that one of his Twelve Disciples would betray him.



[PLATE IV.-THE LAST SUPPER Refectory of St. Maria delle Grazie, Milan. About 13 feet 8 ins. h. by 26 ft. 7 ins. w. (4.16 x 8.09)]
 

He goes on to say that he can construct light bridges which can be transported, that he can make pontoons and scaling ladders, that he can construct cannon and mortars unlike those commonly used, as well as catapults and other engines of war; or if the fight should take place at sea that he can build engines which shall be suitable alike for defence as for attack, while in time of peace he can erect public and private buildings. Moreover, he urges that he can also execute sculpture in marble, bronze, or clay, and, with regard to painting, “can do as well as any one else, no matter who he may be.” In conclusion, he offers to execute the proposed bronze equestrian statue of Francesco Sforza “which shall bring glory and never-ending honour to that illustrious house.”

It was about 1482, the probable date of Leonardo’s migration from Florence to Milan, that he painted the “Vierge aux Rochers,” now in the Louvre (No. 1599). It is an essentially Florentine picture, and although it has no pedigree earlier than 1625, when it was in the Royal Collection at Fontainebleau, it is undoubtedly much earlier and considerably more authentic than the “Virgin of the Rocks,” now in the National Gallery (Plate III.).

He certainly set to work about this time on the projected statue of Francesco Sforza, but probably then made very little progress with it. He may also in that year or the next have painted the lost portrait of Cecilia Gallerani, one of the mistresses of Ludovico Sforza. It has, however, been surmised that that lady’s features are preserved to us in the “Lady with a Weasel,” by Leonardo’s pupil Boltraffio, which is now in the Czartoryski Collection at Cracow.

IN THE EAST

The absence of any record of Leonardo in Milan, or elsewhere in Italy, between 1483 and 1487 has led critics to the conclusion, based on documentary evidence of a somewhat complicated nature, that he spent those years in the service of the Sultan of Egypt, travelling in Armenia and the East as his engineer.

BACK IN MILAN

In 1487 he was again resident in Milan as general artificer—using that term in its widest sense—to Ludovico. Among his various activities at this period must be mentioned the designs he made for the cupola of the cathedral at Milan, and the scenery he constructed for “Il Paradiso,” which was written by Bernardo Bellincioni on the occasion of the marriage of Gian Galeazzo with Isabella of Aragon. About 1489-1490 he began his celebrated “Treatise on Painting” and recommenced work on the colossal equestrian statue of Francesco Sforza, which was doubtless the greatest of all his achievements as a sculptor. It was, however, never cast in bronze, and was ruthlessly destroyed by the French bowmen in April 1500, on their occupation of Milan after the defeat of Ludovico at the battle of Novara. This is all the more regrettable as no single authentic piece of sculpture has come down to us from Leonardo’s hand, and we can only judge of his power in this direction from his drawings, and the enthusiastic praise of his contemporaries.

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