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Leonardo Da Vinci Collection

Leonardo Da Vinci Biography Painters Home Page

Head and Shoulders of an Older Man, c.1510-1515

Character Head of an Older Man and Sketch of a Lions Head, c.1505-1510

Study for the Last Supper (Judas), c.1495

Study for the Last Supper (Peter?), c. 1495

Study for the Last Supper (the Disciple Philip), c. 1495

Head of a Bearded Man (so-called Self-portrait), c.1510-1515

Portrait of Lisa del Giocondo (Mona Lisa), 1503-1506 Detail

Portrait of Lisa del Giocondo (Mona Lisa), 1503-1506

Study for the Last Supper (St. James the Greater) and Architectural Sketches, c.1495

Virgin and Child with St. Anne, c. 1502-1516

The Virgin of the Rocks (Mary with Christ, the infant St. John and an angel), 1483-1486

Grotesque Portrait Studies of Two Men, c.1487-1490

Grotesque Portrait of an Old Woman, c.1490/91

Grotesque Portrait Studies with a caricature of Dante (bottom right), c.1492

Grotesque Portrait Study of a Man, c.1500-1505

Portrait of Ginevra de’Benci, c. 1478-1480

Portrait of Cecilia Gallerani (Lady with an Ermine)

Portrait of Cecilia Gallerani (Lady with an Ermine), c. 1490 Detail

Burlington House Cartoon (Mary, Christ, St. Anne and the Infant St. John)

Burlington House Cartoon (Mary, Christ, St. Anne and the Infant St. John) Detail

Portrait of a Young Man (Portrait of the Musician Franchino Gaffurio?), c. 1490

Portrait of an unknown Woman (La Belle Ferroniére), c.1490

Andrea del Verrocchio and Leonardo, The Baptism of Christ, c. 1472-1475

Leonardo Da Vinci Biyography

Painters Home Page

Leonardo got his start as an artist around 1469, when his father apprenticed him to the fabled workshop of Verocchio. Verocchio's specialty was perspective, which artists had only recently begun to get the hang of, and Leonardo quickly mastered its challenges. In fact, Leonardo quickly surpassed Verocchio, and by the time he was in his early twenties he was downright famous.

Renaissance Italy was centuries away from our culture of photographs and cinema, but Leonardo nevertheless sought a universal language in painting. With perspective and other realistic elements, Leonardo tried to create faithful renditions of life. In a culture previously dominated by highly figurative and downright strange religious paintings, Leonardo's desire to paint things realistically was bold and fresh. This call to objectivity became the standard for painters who followed in the 16th century.

No slouch when it came to the techniques of the day, Leonardo went beyond his teaching by making a scientific study of light and shadow in nature. It dawned on him that objects were not comprised of outlines, but were actually three-dimensional bodies defined by light and shadow. Known as chiaroscuro, this technique gave his paintings the soft, lifelike quality that made older paintings look cartoony and flat. He also saw that an object's detail and color changed as it receded in the distance. This technique, called sfumato, was originally developed by Flemish and Venetian painters, but of course Super-Genius Leonardo transformed it into a powerful tool for creating atmosphere and depth.

Ever the perfectionist, Leonardo turned to science in the quest to improve his artwork. His study of nature and anatomy emerged in his stunningly realistic paintings, and his dissections of the human body paved the way for remarkably accurate figures. He was the first artist to study the physical proportions of men, women and children and to use these studies to determine the "ideal" human figure. Unlike many of his contemporaries -- Michelangelo for example -- he didn't get carried away and paint ludicrously muscular bodies, which he referred to as "bags of nuts."

All in all, Leonardo believed that the artist must know not just the rules of perspective, but all the laws of nature. The eye, he believed, was the perfect instrument for learning these laws, and the artist the perfect person to illustrate them.

Madonna with the Carnation, c. 1475, Andrea del Verrocchio and Leonardo, The Baptism of Christ, c. 1472-1475
Andrea del Verrocchio and Leonardo, Benois Meryemi, c. 1475-1478, Portrait of Ginevra de’Benci, c. 1478-1480, St. Hieronymous, c. 1480-1482, Adoration of the Magi, 1481-1482, The Virgin of the Rocks (Mary with Christ, the infant St. John and an angel), 1483-1486, The Virgin of the Rocks (Mary with Madonna Litta, c. 14, Study for the Head of a Woman, c. 1490, Portrait of Cecilia Gallerani (Lady with an Ermine), c. 1490, Portrait of a Young Man (Portrait of the Musician Franchino Gaffurio?), c. 1490, Portrait of an unknown Woman (La Belle Ferroniére), c.1490, Copy after Leonardo’s Last Supper, Study for the Last Supper (St. James the Greater) and Architectural Sketches, c.1495, Study for the Last Supper (Judas), c.1495, Study for the Last Supper (the Disciple Philip), c. 1495, Study for the Last Supper (Peter?), c. 1495, Burlington House Cartoon (Mary, Christ, St. Anne and the Infant St. John), 1499, Virgin and Child with St. Anne, c. 1502-1516, Madonna of the Yarnwinder, 1501, Portrait of Lisa del Giocondo (Mona Lisa), 1503-1506
Studies of Heads in Profile, c. 1478-1480, Study of a Young Woman in Profile, c.1511/12, Bearded Old Man in Profile, c. 1472 (?), Warrior with Helmet and Breastplate in Profile, c.1472, Head of an Old Man in Profile, c.1485-1490, Head of an Old Man in Profile, c.1490, Bald Man in Profile, c.1495 (?), Bald Man in Profile, c.1495 (?), Studies of an Old Man and a Youth (Salai?) in Profile, Facing each Other, c.1500-1505, Profile Study of an Old Man with a Laurel Wreath, c.1506-1508, Bust of an Older Man in Profile (Gian Giacomo Trivulzio?) c.1510, Head and Shoulders of a Youth in Profile (Salai?), c. 1510, Profile Study of a Youth (Salai?), c.1510, Head and Shoulders of an Older Man, c.1510-1515, Character Head of an Older Man and Sketch of a Lions Head, c.1505-1510, Profile Study of an Old Man with a Beard and Braided Hair, c.1511-1513, Study of a Bearded Old Man in Profile, c. 1513, Head of a Bearded Man (so-called Self-portrait), c.1510-1515 (?), Character Head of an Old Man, c.1505 , Grotesque Head of an Old Man with a Hat, Seen in Profile, c.1490, Grotesque Head of an Old Man with a Hat, Seen in Profile, c.1485-1490, Grotesque Portrait Studies of Two Men, c.1487-1490, Profile Study of a Grotesque Male Head, c.1485-1490, Five Grotesque Heads, c.1494, Profile Study of a Grotesque Head, c.1500-1505, Grotesque Portrait Study of a Man, c.1500-1505, Grotesque Portrait of an Old Woman, c.1490/91 (?), Grotesque Portrait Studies with a caricature of Dante (bottom right), c.1492 (?), Study of the Proportions of the Head and Face, c.1489/90, Torso of a Man in Profile, the Head Squared for Proportion, and Sketches of Two Horseman, c. 1490 and c.150

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