Annunciation 1/2

Angel Gabriel. Painting by Da Vinci and Andrea del Verrocchio.
Luke 1.26-39, a popular scene in Renaissance painting. Completed in Milan, Italy.
medium: Oil, panel
date: 1472
#001LDV

Annunciation 2/2

Mary. Completed in Milan, Italy
medium: Oil, panel
date: 1472
#002LDV

Profile Of A Warrior In Helmet

Silverpoint is a fine line drawing technique dating to Medieval scribe work.
Completed in Milan, Italy.
medium: Metalpoint (silverpoint), paper
date: 1472
#003LDV

Woman's Head

Completed in Milan, Italy
medium: Ink, paper
date: 
1473
#004LDV

Portrait Of Ginevra Benci

Portrait of Florentine aristocrat Ginevra de Benci, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. The juniper behind her head symbolizes female virtue, and the Italian word "ginepro" is a play on the sitter's name. 'The reverse is decorated with a juniper sprig encircled by a wreath of laurel and palm and is memorialized by the phrase VIRTVTEM FORMA DECORAT ("beauty adorns virtue"). The laurel and palm are the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait. Completed in Milan, Italy,
medium: Oil, panel
date: 1474
#005LDV

Madonna With A Flower
(Madonna Benois)

Likely the first painting Da Vinci completed independent of his teacher Verrocchio. Studies of sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight. At that time it was thought that human eyes exhibited rays to cause vision with a central beam being the most important. The child is thought to be guiding his mother's hands into his central vision. For centuries, Madonna and Child with Flowers was considered lost until it re-emerged in 1909. Completed in Milan, Italy.
medium: Oil, canvas
date: 1478
#006LDV

Study Sheet

Completed in Milan, Italy
medium: Ink, paper
date: 1478
#007LDV

Annunciation 1/2

Angel Gabriel. Luke 1.26-39, a popular scene in Renaissance painting.
Completed in Milan, Italy
medium: Oil, panel
date: 1480
#008LDV

Annunciation 2/2

Mary. Luke 1.26-39, a popular scene in Renaissance painting.
Completed in Milan, Italy
medium: Oil, panel
date: 1480
#009LDV

Automobile

Design. Completed in Milan, Italy
medium: Ink, paper
date: 1480
#010LDV

St. Jerome

"St. Jerome In The Wilderness" one of Da Vinci's many unfinished works. 'The painting depicts Saint Jerome during his retreat to the Syrian desert, where he lived the life of a hermit. St Jerome kneels in a rocky landscape, gazing toward a crucifix which can be discerned faintly sketched in at the extreme right of the painting. In Jerome's right hand he holds a rock with which he is traditionally shown beating his chest in penance. At his feet is the lion which became a loyal companion after he extracted a thorn from its paw. The lion, the stone and a cardinal's hat are the traditional attributes of the saint.'
medium: Oil, tempera, walnut panel
date: 1480
#011LDV

The Madonna Of The Carnation

Early Renaissance. Carnation is a healing symbol. Completed in Milan, Italy
medium: Oil, panel
date: 1480
#012LDV

Crossbow Machine

Design. Completed in Milan, Italy
medium: Ink, paper
date: 1480
#013LDV

Head Of A Girl

Sketch and Study. Completed in Milan, Italy
medium: Metalpoint (silverpoint), paper
date: 1483
#014LDV

Portrait Of A Musician

The man in the painting was at one time thought to be Franchino Gaffurio, who was the maestro di cappella of the Milanese Cathedral. Some believe this to be the case while others believe the subject to be anonymous. The painting has been greatly restored and it is believed that Da Vinci left it unfinished but close to completion.
medium: Oil, panel
date: 1485
#015LDV

Flying Machine

Design. Completed in Milan, Italy
medium: Metalpoint (silverpoint), paper
date: 1487
#016LDV

Grotesque Profile

Sketch and Study. Completed in Milan, Italy
medium: Ink, paper
date: 1487
#017LDV

Design For A Flying Machine

Design. From Paris Manuscript B.
Completed in Milan, Italy
medium: Ink, paper
date: 1488
#018LDV

View Of A Skull

Sketch and Study.
Completed in Milan, Italy
medium: Chalk, ink, paper
date: 1490
#019LDV

Five Caricatures 1/5

From a series of caricatures.
medium: Ink, paper
date: 1490
#020LDV

Five Caricatures 2/5

From a series of caricatures.
medium: Ink, paper
date: 1490
#021LDV

Five Caricatures 3/5

From a series of caricatures.
medium: Ink, paper
date: 1490
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Five Caricatures 4/5

From a series of caricatures.
medium: Ink, paper
date: 1490
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Five Caricatures 5/5

From a series of caricatures.
medium: Ink, paper
date: 1490
#024LDV

Madonna Litta (Madonna And The Child)

Some scholars contend that this work was at least in part completed by Da Vinci's pupil Giovanni Antonio Boltraffio.
medium: Tempera, canvas
date: 1490
#025LDV

Portrait Of An Unknown Woman (La Belle Ferroniere)

'The painting's title, applied as early as the seventeenth century, identifying the sitter as the wife or daughter of an ironmonger (a ferronnier), [may] discreetly [allude] to a reputed mistress of Francis I of France, married to a certain Le Ferron. The tale is a romantic legend of revenge in which the aggrieved husband intentionally infects himself with syphilis, which he passes to the king through infecting his wife.' -wikipedia. I don't buy the syphilis story because this precedes discovery of the New World; though it's debated whether this truly was brought back to Europe with Columbus (as there is evidence that syphilis pre-existed among the indigenous population) or whether it was somehow unnoticed until the first reported outbreak among French soldier in the mid-1490s, it still wouldn't have come to anyone's awareness until that outbreak, which occurred after the completion of this painting. Regardless, the portrait's subject has been postulated and contested many times over the centuries, once believed to be Lucrezia Crivelli, mistress of Lodovico 'il Moro' Sforza, Duke of Milan, and as recently as 2012 suggested as possibly being Beatrice d'Este, wife of Ludovico Sforza. Completed in Milan, Italy
medium: Oil, panel
date: 1490
#026LDV

The Proportions Of The Head

Designs and Sketches.
Completed in Milan, Italy
medium: Ink, paper
date: 1490
#027LDV

The Proportions Of The Human Figure (Vitruvian Man)

Designs and Sketches. Completed in Milan, Italy.
medium: Ink, paper
date: 1492
#028LDV

Head Of Christ

Completed in Milan, Italy
medium: Pencil, wash, paper
date: 1495
#029LDV

Study For The Last Supper

Sketch and Study.
Completed in Milan, Italy
medium: Metalpoint (silverpoint), paper
date: 1495
#030LDV

The Last Supper 1/5

Mural painting in the refectory of the Convent of Santa Maria delle Grazie, Milan, Italy, commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. John 13:21. 'Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.' -wikipedia. In order from left to right: Bartholomew; James, son of Alphaeus; Andrew; Judas Iscariot; Peter; John; Jesus; Apostle Thomas; James the Greater; Philip; Matthew; Jude Thaddeus; Simon the Zealot. Being painted on a dry wall rather than on wet plaster, this piece is not a true fresco. Borrowing from panel painting Da Vinci put down a layer of white lead to enhance the brightness of the oil and tempera layers that would come on top of it. Considered to be an important work for the time on the theme of Humanism.
medium: Plaster, tempera
date: 1495
#031LDV

The Last Supper 2/5

Mural painting in the refectory of the Convent of Santa Maria delle Grazie, Milan, Italy, commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. John 13:21. 'Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.' -wikipedia. In order from left to right: Bartholomew; James, son of Alphaeus; Andrew; Judas Iscariot; Peter; John; Jesus; Apostle Thomas; James the Greater; Philip; Matthew; Jude Thaddeus; Simon the Zealot. Being painted on a dry wall rather than on wet plaster, this piece is not a true fresco. Borrowing from panel painting Da Vinci put down a layer of white lead to enhance the brightness of the oil and tempera layers that would come on top of it. Considered to be an important work for the time on the theme of Humanism.
medium: Plaster, tempera
date: 1495
#032LDV

The Last Supper 3/5

Mural painting in the refectory of the Convent of Santa Maria delle Grazie, Milan, Italy, commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. John 13:21. 'Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.' -wikipedia. In order from left to right: Bartholomew; James, son of Alphaeus; Andrew; Judas Iscariot; Peter; John; Jesus; Apostle Thomas; James the Greater; Philip; Matthew; Jude Thaddeus; Simon the Zealot. Being painted on a dry wall rather than on wet plaster, this piece is not a true fresco. Borrowing from panel painting Da Vinci put down a layer of white lead to enhance the brightness of the oil and tempera layers that would come on top of it. Considered to be an important work for the time on the theme of Humanism.
medium: Plaster, tempera
date: 1495
#033LDV

The Last Supper 4/5

Mural painting in the refectory of the Convent of Santa Maria delle Grazie, Milan, Italy, commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. John 13:21. 'Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.' -wikipedia. In order from left to right: Bartholomew; James, son of Alphaeus; Andrew; Judas Iscariot; Peter; John; Jesus; Apostle Thomas; James the Greater; Philip; Matthew; Jude Thaddeus; Simon the Zealot. Being painted on a dry wall rather than on wet plaster, this piece is not a true fresco. Borrowing from panel painting Da Vinci put down a layer of white lead to enhance the brightness of the oil and tempera layers that would come on top of it. Considered to be an important work for the time on the theme of Humanism.
medium: Plaster, tempera
date: 1495
#034LDV

The Last Supper 5/5

Mural painting in the refectory of the Convent of Santa Maria delle Grazie, Milan, Italy, commissioned as part of a plan of renovations to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. John 13:21. 'Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Due to the methods used, a variety of environmental factors, and intentional damage, very little of the original painting remains today despite numerous restoration attempts, the last being completed in 1999.' -wikipedia. In order from left to right: Bartholomew; James, son of Alphaeus; Andrew; Judas Iscariot; Peter; John; Jesus; Apostle Thomas; James the Greater; Philip; Matthew; Jude Thaddeus; Simon the Zealot. Being painted on a dry wall rather than on wet plaster, this piece is not a true fresco. Borrowing from panel painting Da Vinci put down a layer of white lead to enhance the brightness of the oil and tempera layers that would come on top of it. Considered to be an important work for the time on the theme of Humanism.
medium: Plaster, tempera
date: 1495
#035LDV

The Lady With An Ermine (Cecilia Gallerani)

Painted at a time when she was the mistress of Ludovico Sforza, Duke of Milan, and Leonardo was in the service of the duke. Completed in Milan, Italy
medium: Oil, panel
date: 1490
#036LDV

Caricature

Caricature
medium: Ink, paper
date: 1500
#037LDV

Design For A Helicopter

Design.
medium: Ink, paper
date: 1500
#038LDV

Isabella d'Este

Unfinished sketch. Note how this study serves as a marker presaging the portraiture success of the Mona Lisa four years later.
medium: Chalk, paper
date: 1500
#039LDV

Salvator Mundi

"Savior of the World" 'The painting shows Jesus, in Renaissance dress, giving a benediction with his right hand raised and two fingers extended, while holding a transparent rock crystal orb in his left hand, signaling his role as savior of the world and master of the cosmos, and representing the 'crystalline sphere' of the heavens...Long thought to be a copy of a lost original, veiled with overpainting, it was restored, rediscovered, and included in a major Leonardo exhibition at the National Gallery, London, in 2011–12. Although several leading scholars consider it to be an original work by Leonardo da Vinci, this attribution has been disputed by other specialists. Leonardo da Vinci's Salvator Mundi may have been painted for Louis XII of France and his consort, Anne of Brittany. It was probably commissioned around 1500, shortly after Louis conquered the Duchy of Milan and took control of Genoa in the Second Italian War. Leonardo himself moved from Milan to Florence in 1500.' -wikipedia As of November 2017 at a price of $450.3 million, this is the most expensive painting ever sold
medium: Oil, walnut panel
date: 1500
#040LDV

Study On The Proportions Of Head And Eyes

Sketch and Study.
medium: Ink, paper
date: 1500
#041LDV

Mona Lisa

Thought to be a portrait of Lisa Gherardini, wife of Francesco del Giocondo. Completed in Florence, Italy
medium: Oil, poplar panel
date: 1504
#042LDV

Battle Of Anghiari 1/2

Our image is of a copy possibly made from the original incomplete work. Originally titled "Lotta per lo stendardo" or roughly "Battle For The Standard," depicting the Battle of Anghiari in 1440, it is often called "The Lost Leonardo." Commissioned by gonfaloniere Piero Soderini in a contract signed by Niccolò Machiavelli, Da Vinci worked on this piece in Florence, Italy as part of wall decoration for The Hall Of The Five Hundred while Michelangelo was designated the opposite wall. This painting was to be Da Vinci's largest and most substantial work. Having had a bad experience with fresco while making The Last Supper, Da Vinci chose for "Battle Of Anghiari" to apply oil to the walls. 'He began also to experiment with such a thick undercoat (possibly mingled with wax), that after he applied the colours, the paint began to drip. Trying to dry the painting in a hurry and save whatever he could, he hung large charcoal braziers close to the painting. Only the lower part could be saved in an intact state, the upper part couldn't dry fast enough and the colours intermingled. Leonardo then abandoned the project.' -wikipedia (citation needed). Some commentators believe the centerpiece to still be hidden beneath one of the later frescoes in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Michelangelo's piece, an episode from The Battle Of Cascina, was also never completed and is also now considered lost. Michelangelo completed a cartoon of his work and began the painting but was called to Rome by Pope Julius II in 1505 to build the Pope's tomb.
medium: Oil, paper
date: 1505
#043LDV

Battle Of Anghiari 2/2

Our image is of a copy possibly made from the original incomplete work. Originally titled "Lotta per lo stendardo" or roughly "Battle For The Standard," depicting the Battle of Anghiari in 1440, it is often called "The Lost Leonardo." Commissioned by gonfaloniere Piero Soderini in a contract signed by Niccolò Machiavelli, Da Vinci worked on this piece in Florence, Italy as part of wall decoration for The Hall Of The Five Hundred while Michelangelo was designated the opposite wall. This painting was to be Da Vinci's largest and most substantial work. Having had a bad experience with fresco while making The Last Supper, Da Vinci chose for "Battle Of Anghiari" to apply oil to the walls. 'He began also to experiment with such a thick undercoat (possibly mingled with wax), that after he applied the colours, the paint began to drip. Trying to dry the painting in a hurry and save whatever he could, he hung large charcoal braziers close to the painting. Only the lower part could be saved in an intact state, the upper part couldn't dry fast enough and the colours intermingled. Leonardo then abandoned the project.' -wikipedia (citation needed). Some commentators believe the centerpiece to still be hidden beneath one of the later frescoes in the Salone dei Cinquecento (Hall of the Five Hundred) in the Palazzo Vecchio, Florence. Michelangelo's piece, an episode from The Battle Of Cascina, was also never completed and is also now considered lost. Michelangelo completed a cartoon of his work and began the painting but was called to Rome by Pope Julius II in 1505 to build the Pope's tomb.
medium: Oil, paper
date: 1505
#044LDV

Head Of Leda

Sketch and Study. Completed in Florence, Italy. Date as with many of the sketches is definitely circa, though by 1506 Da Vinci was back in Milan, where he completed a very similar study of hair for the Leda paintings.
medium: Chalk, ink, paper
date: 1505
#045LDV

The Virgin Of The Rocks

Completed in Florence, Italy
medium: Oil, panel
date: 1505
#046LDV

Drawing Of A Woman's Torso

Sketch and Study.
medium: Ink, paper
date: 1507
#047LDV

Spiridon Leda 1/2

Leda & Swan.
Completed in Milan, Italy
medium: Oil, canvas
date: 1510
#048LDV

Leda 2/2

Babies hatching.
Completed in Milan, Italy
medium: Oil, canvas
date: 1510
#049LDV

Leda (Il Sodoma)

Leda
medium: Tempera, panel
date: 1510
#050LDV

Madonna With The Yardwinder

Madonna & Child. The yarnwinder serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and implied narrative was highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.
Likely Completed in Florence, Italy
medium: Oil, walnut panel
date: 1510
#051LDV

Portrait Of A Bearded Man
(Possible Self-Portrait)

Possible Self-Portrait.
Completed in Rome, Italy
medium: Chalk, paper
date: 1513
#052LDV

Study Sheet With Cats,
Dragons & Other Animals 1/2

Sketch and Study.
Completed in Rome, Italy
medium: Chalk, ink, paper
date: 1513
#053LDV

Study Sheet With Cats,
Dragons & Other Animals 2/2

Sketch and Study.
Completed in Rome, Italy
medium: Chalk, ink, paper
date: 1513
#054LDV

St John The Baptist

Completed in Rome, Italy
medium: Oil, walnut panel
date: 1515
#055LDV
Leonardo Da vinci's

Dat Vinci

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Annunciation 1/2
Annunciation 2/2
Profile Of A Warrior In Helmet
Woman's Head
Portrait Of Ginevra Benci
Madonna With A Flower (Madonna Benois)
Study Sheet
Annunciation 1/2
Annunciation 2/2
Automobile
St Jerome
The Madonna Of The Carnation
Crossbow Machine
Head Of A Girl
Portrait Of A Musician
Flying Machine
Grotesque Profile
Design For A Flying Machine
View Of A Skull
Five Caricature Heads 1/5
Five Caricature Heads 2/5
Five Caricature Heads 3/5
Five Caricature Heads 4/5
Five Caricature Heads 5/5
Madonna Litta
Portrait Of An Unknown Woman
The Proportions Of The Head
The Vitruvian Man
Head Of Christ
Study For The Last Supper
The Last Supper 1/5
The Last Supper 2/5
The Last Supper 3/5
The Last Supper 4/5
The Last Supper 5/5
The Lady With An Ermine
Caricature
Design For A Helicopter
Isabella d'Este
Salvator Mundi
Study On The Proportions Of Head And Eyes
Mona Lisa
Battle Of Anghiari 1/2
Battle Of Anghiari 2/2
Head Of Leda
The Virgin Of The Rocks
Drawing Of A Womans Torso
Spiridon Leda 1/2
Spiridon Leda 2/2
Leda (Il Sodoma)
Madonna With The Yarnwinder
Portrait Of A Bearded Man
Study Sheet With Cats Dragon And Other Animals 1/2
Study Sheet With Cats Dragon And Other Animals 2/2
St John The Baptist
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