Da Vinci Image List PDF

Leonardo da Vinci: 1452 - 1519 ​ Born righty outside of Anchiano ​ Son of Piero and Catarina ​ da Vinci was illegitimate and left handed, yet, he was educated ​ left handed - signed his name backwards ​ His family move to Florence in the 1460s and gets a great education...

Leonardo da Vinci: 1452 - 1519 ​ Born righty outside of Anchiano ​ Son of Piero and Catarina ​ da Vinci was illegitimate and left handed, yet, he was educated ​ left handed - signed his name backwards ​ His family move to Florence in the 1460s and gets a great education ​ 1466-1469: apprentice to Verocio who was a sculptor and successful artist ​ Here he mingles with other influential artists ​ may have also been trained as a goldsmith during this time ​ Would not have had access to fresco during this time ​ From comradely in the studio grew rivalry ​ He believed that painting to be superior and required greater intelligence ​ His main argument was that sculpting was still a manual art form and that painters had greater demands placed onto them. ​ 1472: Becomes a member of the painter’s guild ​ around the age of 20 he is considered an independent master but continues to stay with Verrochio until 1476- likely for commissions ​ 1478: does at least 1 drawing of the Pazzi conspiracy of the hanging ​ Documenting contemporary Florentine history and politics, the human body ​ Da Vinci also did a great deal of the landscape ​ positioning of the figure (¾ view), curls, study of water, hazy perspective, hyper realistic drapery are all distinctly da Vinci da Vinci:​details in Verrocchio's Baptism of Christ, c. 1470, tempera and oil on panel, Uffizi, Florence ​ Very large - fig are ​ first identifiable figure but da Vinci ​ Christ in the center, hands of god above, holy spirt ​ 2 angels: 1 painted by Verocio (right) and 1 by da Vinci (left) ​ Verocio never paints again never again after this, continues to work however ​ experimenting with oil ​ Mostly verrocchio, some da Vinci da Vinci:​Drapery for a Seated Figure, 1470, Brush, grey and white on linen canvas, Louvre, Paris ​ Cloth dipped in gesso over da Vinci Barbies, scientific study of how light catches drapery ​ Helped shape the drapery in The Virgin of the Rocks, Mona Lisa, and The Last Supper.  ​ Contributed to his broader studies of light, form, and anatomy. da Vinci: ​Annunciation, c.1472-75, oil on panel, Uffizi, Florence ​ Another early work that may have been began by Verocio ​ Medium sized panel ​ Originally Commissioned for San Bartholomew monteoliveto ​ Painted in an enclosed garden ​ weaving rad thread for the temple ​ angel sends a blessing and is holding a lily (symbol of the VM) often called a madonna lily and a symbol of purity and the city of Florence ​ Seated on a classically inspired ​ 5 laudable conditions of the Virgin: written by a Fra Roberto a monk- nano second described as her different attitudes of annunciation: ​ conturbatio: initial surprise ​ cogitatio: reflection ​ interrogatio: interrogation or inquiry (addresses the angel) ​ humiliatio: moment of submission (falls to her knees) ​ mertatio: merit/joy, inception, incarnate (often alone and holding her womb) ​ Leonardo had disdain for the depiction of the conturbatio ​ Encyclopedia like hyperrealistic garden of flowers ​ proportion of her right arm is off (unrealistically long) ​ Head of the VM and head of the angel is by vericio ​ the landscape is da Vinci ​ wings are too small and flat reflecting overworked/overworking ​ sfumato: smoky/hazy or soft mist typical of da Vinci, dependent on glazing effect of oil ​ the sarcophagus that is in front of VM mirrors the design of the tomb of Pierre de Giovani de Medici being made by Verocio at the time (shows his influence) ​ his use of sfumato, and study of botanicals shows his independence as well. ​ likely designed to be set on a staircase da Vinci: ​Ginevra de' Benci c.1474, oil and tempera on panel, National Gallery, Washington DC ​ Madonna of the Carnation ​ 15 x 15 inches but was cut down (at least 8 in of the bottom) ​ portrait in front backside has an emblem of the sitter ​ only da Vinci in the collection of the US ​ the daughter of his banker friend ​ da Vinci was about 22 still ​ Sitter was ab 16 at the time, prob commissioned for her engagement portrait ​ considered the earliest female portrait where she is facing the viewer ​ Once included hands but bottom was removed ​ Maybe meets the viewers gaze but appears to look past them ​ Women of the time never directly met a man’s eye level ​ Epitome of renaissance beauty (simple, unadorned/without jewelry, serene face, graceful hands ​ almost expressionless ​ revolutionary for the time because she is depicted outside ​ the foliage behind her is a juniper bush, a nod to the sitter and her name as well as her virtue (juniper is often a symbol of Chasity) ​ Recognized as a poet of her time though we know only (“I ask your forgiveness, I am a mountain tiger”) of her work ​ The poems (about her beauty) were likely commissioned by Bimbo. She was a muse informed by Neoplatonism. ​ The reverse shows her emblem: sprig of Laurel, palm leaf, surrounding a juniper twig ​ the banner that surrounds the botanicals reads: “beauty adorns virtue” ​ Mary Gerard argues that the commission is instead a commemorative portrait of the poet ​ Some scholars speculate that the emblem on the back of the portrait—particularly the laurel and palm—may reference Bernardo Bembo’s admiration, as laurel was often associated with poetic achievement and intellectual love. da Vinci:​Study of Hands, 1474, drawing, HMQEII, Windsor ​ Similar to sculpture by Verocio (Lady with Primroses) ​ The hands in this study are strikingly similar to those in Andrea del Verrocchio’s sculpture Lady with Primroses, considered the first Renaissance sculpture to incorporate expressive hands in a naturalistic pose. ​ Given that Leonardo trained in Verrocchio’s workshop, this influence is evident in his careful attention to the positioning and grace of the fingers. ​ First ever sculpture that included hands ​ It is believed to be a preparatory work for a lost painting of Giovanna Galderini, though no definitive portrait survives. da Vinci:​Madonna of the Carnation, c. 1476, oil on panel, Alte Pinakothek, Munich ​ 1478: da Vinci writes “and I begin the 2 Virgin Marys” ​ Both have conservation issues and may have been overpainted over unfinished ​ Influence of Verrocchio ​ Crystal broach, a symbol of her virginity, mirror points to her immaculateness ​ she holds in her left hand a red carnation which she offers to the Christ child which he reaches for (red carnation symbolizes love) ​ Carnation has become the flower of God ​ seated in a dark interior ​ shows the artist moving a watt from the influence of Verrocchio and shows the influence of Flemish work (deeply shaded domestic interior, rendered vase) ​ her forehead shows evidence of experimentation of material da Vinci:​Benois Madonna, c. 1478, oil on canvas/transferred from panel (in 1884), Hermitage, St. Petersburg ​ It gets its name from its former owner, the Russian architect Leon Benois, before entering the Hermitage Museum in St. Petersburg. ​ Due to the size scholars believed this to be an private intimate commission ​ The carnation is replaced by 2, 4 petaled white flowers ​ The window appears unfinished ​ much more direct and joyful than earlier depictions of the Madonna ​ Halos are depicted in this version da Vinci: ​Hanging of Bernardo Baroncelli, 1479, Drawing, Bayonne Musee, Bonnat ​ depicts the execution of Bernardo Baroncelli, a Florentine who was involved in the assassination of Lorenzo de' Medici's brother, Giuliano, during the infamous Pazzi Conspiracy in 1478. ​ Study of human anatomy, movement and emotion da Vinci:​Adoration of the Magi, c. 1481, unfinished panel, Uffizi, Florence ​ Charcoal and oil on panel (under painting) ​ 97 x 95 in ​ first major commission and first large scale composition ​ Commissioned by the Monastery of San Donato ​ His father was a notary at the Monastery, could have helped to get him the commission ​ Later in 1496 Filipino Lipi is commissioned to do the commission instead ​ da Vinci promised to complete the piece in ab 17-24 months ​ the emotions of the individuals suggest an almost psychological study or character studies (affetti: emotions) ​ The 3 magi all kneel in adoration of the Christ child. ​ The one closest to her, offers frankincense to the Christ child ​ decaying classical ruins in the background ​ on the right side two mounted riders on rearing horses; behind them a far reaching landscape ​ far left fig: in thought, reminiscent of masaccio's figures ​ far right fig: resembles Donatello’s St. George ​ They exist as a contrasts of each other typical of the time ​ Study done in pen and ink da Vinci:​St. Jerome, c. 1482, unfinished panel, Vatican Museum, Rome ​ Underpainting on panel, 41x 30 in ​ at one point the head of St. Jerome was cut out ​ Panel was cut into ab 9 pieces but was reassembled in the 1900’s ​ 340-420: St. Jerome dedicated his life to an a ascetic life living in the desert in Syria ​ He is best known for the 382 A.D. version of the Bible (Volgate: Latin Version of the Bible) ​ St. Jerome’s attributes in Art (Red cardinal’s hat and a lion) ​ Helped an injured lion so he is alway shown with a lion ​ named 1 of 4 doctors of the church ​ 4 doctors of the church: St. Jerome, Augustin, Ambrose and Gregory the Great ​ beats his chest with a rock (like the Dominican flagellation) looking at the oblique of the crucifixion ​ Anatomical study da Vinci:​The Virgin of the Rocks, 1483-1486, Panel transferred to canvas, Louvre, Paris ​ Has a pointing figure and no halo ​ Oil on Canvas originally ​ 78x48 in ​ Thought to be most by the hand of da Vinci, least finished, and the earliest ​ Was a central part of an ancona ​ commissioned by The Brotherhood of the Immaculate Conception ​ Depredis brothers: Franciscan fraternity that commissioned it ​ originally commissioned to decorate the San Francesco Grande ​ Subject appears to celebrate the immaculate conception of the blessed VM ​ The fraternity was created specifically to combat the Dominican belief that VM’s sin is removed in the womb ​ Remains a conflict until 1854 ​ December 8th: Feast of the Immaculate Conception was the date set for the piece to be completed ​ VM’s right hand is on St. John the Baptist ​ Jesus is in front of the Angel (archangel Uriel) and Jesus signals blessings at his cousin St. John the Baptist ​ Illustrates a legend that the holy family encountered St. John the Baptist in their flight on their way out of Egypt ​ John the Baptist’s immaculateness is talked ab as his original sin being removed in his mother’s womb ​ VM’s superiority of immaculateness over John the Baptist is the main argument between the Franciscans and the Dominicans ​ Uriel transports John ​ The painting was likely rejected by the fraternity partly because it was too convoluted and payment was denied da Vinci:​The Virgin of the Rocks, 1491-1508 oil on panel, National Gallery, London ​ 75x47 in ​ A Copy by da Vinci may have been begun in 1503 ​ Much of this version is by da Vinci and ​ The halos makes everyone’s holiness more apparent and the cross makes John the Baptist visible and the lack of pointing takes the focus off of John ​ Painted with a heavier hand ​ underdrawings suggest that the panel may have been originally for another piece but it proves that da Vinci was involved in this work ​ Angels that flank the sides of the panel may not have been from da Vinci ​ for the predis brothers da Vinci:​Cecilia Gallerani, c.1483-89, Oil on Panel, Czartoryski Collection, Krakow ​ lover of Duke Ludovico Sforza of Milan, who is believed to have commissioned this portrait. ​ She was from a wealthy family ​ She will give a son to the duke ​ Later married off ​ Referred to lady with an ermine ​ a striking vitality ​ The ermin mirrors her body language and look off into the distance ​ The ermin is an attribute to her vitality and also refers to her own name also the Duke Ludovico ​ The ermin is described as the most polite and reasonable of all the animals ​ A lover’s portrait and a gift to Cecilia ​ misidentified as the thing on her head cerchietto ​ Hitler loved this painting and it was stolen out of Poland during WWII da Vinci:​Last Supper, fresco/oil/tempera on plaster, 1495-1498, Refectory, Santa Maria della Grazie, Milan ​ In the dining hall ​ 15ft 2in x 25 ft 10in ​ Cenacolo: last supper ​ Dominican convent ​ The Duke of Milan Ludovico commissioned the painting because this was supposed to be the burial place of his family ​ The Lunets above the fresco are lunets of the codes of arms of the family and discovered later ​ Depicts Christ and the apostles, Christ is the vanishing point ​ The event is associated with gospel ​ da Vinci focused on the range of human emotions (affetti) of the apostles as opposed to the mystical interpretation of the gospel ​ Judas is darker than the other figures and is the only figure in a shadow ​ In the painting he still holds the bag of silver ​ The emotions make more sense regarding them in groups (of 3) ​ No single light source ​ In a refectory in a monastery da Vinci:​Madonna and Child and St. Anne (Burlington), c.1499-1501, charcoal cartoon, NG, London ​ The cartoon gained much attention or could have been a lost painting ​ Virgin and child of St. Anne ​ later mounted on canvas ​ Full scale preparatory drawing for a painting ​ type of image that is an anamaterza (Ann in the 3rd place) which resembles a human trinity ​ St. Ann’s left hand points to heaven and looks to the VM ​ St. Ann seems the wiser in this cartoon ​ Gains its name because of where it was stored ​ about 1 cm of the drawing was destroyed due to it being shot da Vinci:​Battle of Anghiari, c. 1503-1505, lost fresco, Palazzo Vecchio, Florence ​ The newly formed political party of Florence commissioned the hall of the Palazzo Vecchio (room of the 500) ​ 2 frescos are commissioned for the space depicting military victories ​ Michelangelo is commissioned to paint the opposing wall ​ Both had until 1505 to finish ​ Nothing of either frescos remain except unfinished drawings and copies ​ Battle: Against the Milanese ​ Da Vinci used incostic, oil and tempera to experiment (it melted off) ​ The best visual reference we have is a chalk drawing by Rubens which is in reference to an an engraving of da Vinci’s own sketch ​ the project is abandoned in 1506 da Vinci:​La Gioconda (Mona Lisa), 1503-1515, oil on panel, Louvre, Paris, ​ 30 X 21in ​ Lisa de Antonio Maria Gherardini is the woman in the painting according to Vassari (1479-1572) ​ She is from Tuscany and 24,m mother of 2 at the time ​ Daughter of a farmer that provides them some income ​ she married a florentine merchant Francesco del Gilcondo who was 19 yrs her senior ​ Monna is a contraction of Madonna or “my lady” ​ No one knows why da Vinci got this commission ​ Her dad and da Vinci were believed to be living on the same street ​ The portrait was unique for the time due to it being a ¾ portrait instead of staring at her waist ​ The painting has been cut down on both sides ​ She would be sitting on a loga outside in front of a landscape ​ At least 9 copies of this painting ​ She dominates the landscape, the horizon line is at her eye line ​ Shows da Vinci’s typical sfumato ​ Her mastery over the landscape ​ Echos of the landscape in the details of the figure ​ She wears no jewelry to show her wealth ​ No hidden message ​ What tells us about her wealth are her expression and the fact that she has a portrait at all ​ Her mouth and eyes appear to relay separate emotions ​ Musicians and clowns are behind her entertaining ​ This coy smile is the perfect expression for her age, status and marital status ​ Sprezzatura: attitude of self confidence that makes her seem unbothered ​ Upper class figures were to appear as though nothing bothered them ​ Her eyes however do not reflect her status as she has a fixed gaze ​ Leo takes the painting with him to France where he dies ​ There is a layer of varnish on the painting that was added later and has discolored ​ The painting does not become famous until it is stolen ​ The thief believes the painting should be in Florence ​ The mass production of prints of the painting after it is stole makes it so well known da Vinci:​Madonna and Child and St. Anne, c. 1507/1508, oil on panel, Louvre, Paris ​ 5ft 6 x 3ft 8 ​ Last work executed in Italy, made while he is in Florence, goes back to France after ​ St. Ann’s head towards above the VM ​ There is more of a hierarchy in this painting ​ She looks at her daughter and also appears to be disengaged with the child ​ The Christ child is grabbing the lamb (symbol of sacrifice) ​ The VM appears to grab the child trying to slow this process ​ John the Baptist in the Burlington is replaced with the lamb ​ The paint is so thin in some areas that you can see the under drawing (suggests it is unfinished) ​ Francis I appoints Leo to be architect, artist and apprentice ​ In 1513 Leo leaves Florence for Rome ​ He is given a room in Rome but not really given anything to do ​ Raphael and Michelangelo are looming over him and frustrating him, he is unhappy in Rome ​ While in Rome he works mostly on drawings and studies  ​ Appointed first architect, painter and mechanic to Francis I ​ Melzi and Salai are his accompanying apprentices and servants (salai) ​ 1 of the two paintings that ends up with him in france ​ In France Leo spends the last 15-20 years of his life not working on painting ​ He worked on architecture of the double helix staircase and an ideal city ​ Seems to have charted with Francis I on an almost daily occasion ​ dies at the age of 67 ​ leaves all of his drawings and remaining work to his pupil Metzi 1508-1516 Earlier John the Baptist ​ Ambiguous smile, and pointing towards the sky with a cross in the background ​ Looks like the figure exists in a void ​ 27 x 22 in, rather small painting but a large figure that takes up most of the composition da Vinci:​Saint John the Baptist (?Bachus), c. 1513-1516, oil on panel, Louvre, Paris ​ 117x115 cm ​ Very overpainted and reworked ​ The figure might have been John the Baptist originally but through overpainting was transformed to Baccus, the ivy in his hair and waned are added in the 1700's(?) ​ Many copies of the the two John the Baptist works ​ Unknown patrons ​ Unfinished ends up in France The Vetruvian Man, drawing, c. 1490, pen, ink, watercolor on paper ​ In the “proportions of the ​ 13.5 x 9.5 in ​ The drawing depicts a nude man inscribed in a square and a circle, ​ visual representation of the ideal human body and proportions as described by the Roman architect and mechanic Vetruvious (75 bc-15bc) ​ Vetruvious writes an architecture treaty: the book is known in the middle ages ​ The treaties were found in Switzerland in 1440 when they were rediscovered and copied ​ Vetruvious believed that architecture should reflect the proportions of the human body. He believed that the human body is a microcosm of the universe ​ The circle is representative of the divine ​ The square represents the earthliness ​ cosmic meaning ​ relative proportion ​