List of works by Leonardo da Vinci

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The Last Supper

This is a list of paintings attributed to Leonardo da Vinci, (baptised Leonardo di ser Piero da Vinci) (About this sound pronunciation), (April 15, 1452 – May 2, 1519), one of the leading artists of the High Renaissance. Fifteen works are generally attributed either in whole or in large part to him, most of them paintings on panel but including a mural, a large drawing on paper and two works in the early stages of preparation. A further six paintings are disputed, there are four recently attributed works, and two are copies of lost work. None of Leonardo's paintings are signed, and this list draws on the opinions of various scholars.[1]

The small number of surviving paintings is due in part to Leonardo's frequently disastrous experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists rivaled only by that of his contemporary, Michelangelo.

Contents

Major extant works

Image
(sort by size)
Details
(sort by earliest likely date)
Attribution statusLocation
(sort by country)
&10000000000021266000000&10000000000000001000000
The Annunciation
Oil on panel
98 × 217 cm
Dating
c. 1473–4 (Kemp 2011)
c. 1472–6 (Syson 2011)
&10000000000000002000000
Generally accepted
Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.[1]
&Italy, Florence
Uffizi
Florence
Italy
&10000000000026727000000&10000000000000004000000
The Baptism of Christ
Oil on wood
177 × 151 cm
Dating
c. 1476 (Kemp 2011)
&10000000000000004000000
Verrocchio and Leonardo
Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo.[2] It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.[1]
&Italy, Florence
Uffizi
Florence
Italy
&10000000000002945000000&10000000000000003000000
Madonna of the Carnation
Oil on panel
62 × 47.5 cm
Dating
c. 1475–6 (Kemp 2011)
c. 1477–8 (Syson 2011)
&10000000000000004000000
Generally accepted
It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.[1]
&Germany
Alte Pinakothek
Munich
Germany}
&10000000000001424000000&10000000000000002000000
Ginevra de' Benci
Oil on wood
38.8 × 36.7 cm, 15.3 × 14.4 in
Dating
c. 1476–8 (Kemp 2011)
c. 1474/8 (Syson 2011)
&10000000000000003000000
Generally accepted
The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.[1]
&United States
National Gallery of Art
Washington, D.C.
United States}
&10000000000001634000000&10000000000000005000000
Benois Madonna
Oil on canvas
49.5 × 33 cm
Dating
c. 1479–80 (Kemp 2011)
c. 1481 onwards (Syson 2011)
&10000000000000004000000
Generally accepted
Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.[1]
&Russia
Hermitage Museum
Saint Petersburg
Russia
&10000000000060000000000&10000000000000006000000
The Adoration of the Magi
Underpainting on panel
240 × 250 cm, 96 × 97 in
Dating
c. 1479–81 (Kemp 2011)
c. 1480–2 (Syson 2011)
&10000000000000001000000
Universally accepted
&Italy, Florence
Uffizi
Florence
Italy
&10000000000007725000000&10000000000000007000000
St. Jerome in the Wilderness
Tempera and oil on panel
103 × 75 cm, 41 × 30 in
Dating
c. 1480–2 (Kemp 2011)
c. 1488–90 (Syson 2011)
&10000000000000001000000
Universally accepted
&Vatican City
Vatican Museum
Vatican City
Vatican City
&10000000000001386000000&10000000000000008000000
Madonna Litta
Tempera on panel (transferred to canvas)
42 × 33 cm
Dating
c. 1481–97 (Kemp 2011)
c. 1491–5 (Syson 2011)
&10000000000000007000000
Generally accepted
Thought to be by the hand of Leonardo and a pupil, Marco d'Oggiono.
&Russia
Hermitage Museum
Saint Petersburg
Russia
&10000000000024278000000&10000000000000009000000
Virgin of the Rocks
Oil on panel (transferred to canvas)
199 × 122 cm, 78.3 × 48.0 in
Dating
1483–c. 1490 (Kemp 2011)
1483–c. 1485 (Syson 2011)
&10000000000000001000000
Universally accepted
Considered by most historians to be the earlier of two versions.
&France
Louvre
Paris
France
&10000000000001440000000&10000000000000010000000
Portrait of a Musician
Oil on wood panel
45 × 32 cm
Dating
c. 1485 (Kemp 2011)
c. 1486–7 (Syson 2011)
&10000000000000006000000
Generally accepted
&Italy, Milan
Pinacoteca Ambrosiana
Milan
Italy
&10000000000002106000000&10000000000000011000000
Lady with an Ermine
Oil on wood panel
54 × 39 cm
Dating
c. 1490 (Kemp 2011)
c. 1489–90 (Syson 2011)
&10000000000000003000000
Generally accepted
This painting has been subject to continued disagreement since it was first published as a Leonardo in 1889. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting.[1] The subject has been identified as Cecilia Gallerani.[3]
&Poland
Czartoryski Museum
Kraków
Poland
&10000000000022740000000&10000000000000012000000
Virgin of the Rocks
Oil on panel
189.5 × 120 cm, 74.6 × 47.25 in
Dating
c. 1495–1508 (Kemp 2011)
c. 1491/2–9 and 1506–8 (Syson 2011)
&10000000000000004000000
Generally accepted
Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others.[1] Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.
&United Kingdom, England
National Gallery
London
England
&10000000000404800000000&10000000000000013000000
The Last Supper
tempera on gesso, pitch and mastic
460 × 880 cm, 181 × 346 in
Dating
c. 1495–8 (Kemp 2011)
1492–7/8 (Syson 2011)
&10000000000000001000000
Universally accepted
&Italy, Milan
Convent of Santa Maria delle Grazie
Milan
Italy
&10000000000002728000000&10000000000000014000000
La belle ferronnière
Oil on wood
62 × 44 cm
Dating
c. 1496–7 (Kemp 2011)
c. 1493–4 (Syson 2011)
&10000000000000006000000
Generally accepted
&France
Louvre
Paris
France
&10000000000500000000000&10000000000000015000000
Sala delle Asse decoration
Fresco
Dating
c. 1498–9 (Kemp 2011)
c. 1498 (Syson 2011)
&10000000000000008000000&Italy, Milan
Castello Sforzesco
Milan
Italy
&10000000000014910000000&10000000000000016000000
The Virgin and Child with St Anne and St John the Baptist
Charcoal, black and white chalk on tinted paper
142 × 105 cm, 55.7 × 41.2 in
Dating
c. 1499–1500 (Syson 2011)
c. 1506–8 (Chapman 2010)
&10000000000000001000000
Universally accepted
&United Kingdom, England
National Gallery
London
England
&10000000000002898000000&10000000000000017000000
Portrait of Isabella d'Este
Black and red chalk, yellow pastel chalk on paper
63 × 46 cm
Dating
c. 1499–1500 (Syson 2011)
&10000000000000001000000
Universally accepted
&France
Louvre
Paris
France
&10000000000001799519999&10000000000000018000000
The Madonna of the Yarnwinder (The Buccleuch Madonna)
Oil on walnut
48.9 × 36.8 cm
Dating
c. 1501–7 (Kemp 2011)
c. 1499 onwards (Syson 2011)
Leonardo and another artist[4]
Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both.[5]
The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support.[6]
&United Kingdom, Scotland
Duke of Buccleuch collection (on long-term loan to the National Gallery of Scotland, Edinburgh)
Scotland
&10000000000001827279999&10000000000000018000000
The Madonna of the Yarnwinder (The Lansdowne Madonna)
Oil on wood panel (transferred to canvas and later re-laid on panel)
50.2 × 36.4 cm
Dating
c. 1501–7 (Kemp 2011)
Underdrawing by Leonardo?
&United States
Private collection
United States
&10000000000002978239999&10000000000000018000000
Salvator Mundi
Oil on panel
45.4 cm × 65.6 cm, 25.8 in × 17.9 in
Dating
c. 1504–7 (Kemp 2011)
c. 1499 onwards (Syson 2011)
&10000000000000004000000
Generally accepted[7]
Discovered to be Leonardo's lost painting, rather than a later copy, during restoration in the 2000s. Pentimenti (changes to the composition which would only be found in an original work, rather than a copy) were found in the thumb of Christ's right hand and elsewhere. [8]
Private collection
New York City
United States of America
&10000000000018816000000&10000000000000019000000
The Virgin and Child with St. Anne
Oil on panel
168 × 112 cm, 66.1 × 44.1 in
Dating
c. 1508–17 (Kemp 2011)
c. 1501 onwards (Syson 2011)
&10000000000000001000000
Universally accepted
&France
Louvre
Paris
France
&10000000000004070000000&10000000000000020000000
Mona Lisa, or La Gioconda
Oil on cottonwood
76.8 × 53.0 cm, 30.2 × 20.9 in
Dating
c. 1503–16 (Kemp 2011)
c. 1502 onwards (Syson 2011)
&10000000000000001000000
Universally accepted
&France
Louvre
Paris
France
&10000000000000518000000&10000000000000020000000
Head of a Woman or La Scapigliata
c. 1508
Earth, amber and white lead on panel
24.7 ×21 cm
&10000000000000001000000
Universally accepted
&Italy
Galleria Nazionale
Parma
Italy
&10000000000003933000000&10000000000000021000000
St. John the Baptist
Oil on walnut wood
69 × 57 cm, 27.2 × 22.4 in
Dating
c. 1508–16 (Kemp 2011)
&10000000000000004000000
Generally accepted
"Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.[1]
&France
Louvre
Paris
France

Disputed attributions

ImageDetailsNotesLocation
Tobias and the Angel
Egg tempera on poplar
83.6 × 66 cm
Dating
c. 1473 (Kemp 2011)
A painting by Verrocchio while Leonardo was in his workshop. Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.
&United Kingdom, England
National Gallery
London
England
&10000000000000201000000&10000000000000003000000
The Dreyfus Madonna
c. 1475–1480
Oil on panel
15.7 × 12.8 cm, 6.13 × 5 in
&10000000000000007000000
Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio.[1] Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).[9]
National Gallery of Art
Washington, D.C.
United States
Portrait of a Young Fiancée, or La Bella Principessa
bodycolour (pastel) on vellum; identified as a Leonardo by Martin Kemp and confirmed using the evidence of a fingerprint.[10] Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question.[11]
Private collection
Switzerland
Portrait of a Lady in Profile
c. 1493–5
Generally attributed to Ambrogio de Predis. The face is thought to show the hand of Leonardo.[12]
Pinacoteca Ambrosiana
Milan
Italy
The Holy Infants Embracing
c. 1486–1490
Several versions in private collections.
&10000000000020355000000&10000000000000022000000
Bacchus
Oil on walnut panel transferred to canvas
177 × 115 cm
Dating
c. 1513–16 (Kemp 2011)
&10000000000000007000000
Disputed
Generally considered to be a workshop copy of a drawing.[1]
&France
Louvre
Paris
France

Lost works

ImageDetailsNotes
Medusa
A juvenile work described by Giorgio Vasari.
Angel of the Annunciation
c. 1503
The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing left, known as "Th Incarnate Angel" is a satirical copy, perhaps by Salaì, in the Kunstmuseum Basel.[13]
The Battle of Anghiari
1505
  • Peter Paul Rubens, copy of Leonardo's The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre
The remains of Leonardo's fresco have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.
Leda and the Swan
1508
There are nine known copies of the painting, including:

Some recent attributions

ImageDetailsAttribution statusLocation
Madonna and Child with St Joseph or Adoration of the Christ Child
Tempera on panel
Diameter 87 cm
Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.[14]
Galleria Borghese
Rome
Italy
Mary Magdalene
Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes.[15] Carlo Pedretti's attribution of this painting is not accepted by other scholars, eg Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.[16]
Private collection
Switzerland
Christ Carrying the Cross
c. 1500
Oil on poplar
Previously attributed by Sotheby's to Gian-Francesco de Maineri.[17][18] Attributed to Leonardo by its present owner.[17] Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes Magazine, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."[17]
Private collection
San Francisco
United States
Lucan Portrait of Leonardo
Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with the Ermine. Alternately attributed to Cristofano dell'Altissimo.[19]
Italy

Manuscripts

TitleDatesPagesNotesLocation
Codex Atlanticus1478–15191,119Italy Pinacoteca Ambrosiana, Milan
Codex Arundel1480–1518283United Kingdom British Library, London
Codex Trivulzianusc. 1487–9055 (originally 62)Italy Biblioteca Trivulziana, Castello Sforzesco, Milan
Codex on the Flight of Birdsc. 150518Italy Biblioteca Reale, Turin
Codex Leicester1506–151072United States Private collection

References

  1. ^ a b c d e f g h i j k della Chiesa, Angela Ottino (1967). The Complete Paintings of Leonardo da Vinci. Penguin. ISBN 0-14-008649-8 
  2. ^ Giorgio Vasari, Lives of the Artists, 1568; this edition Penguin Classics, trans. George Bull 1965, ISBN 0-14-044164-6
  3. ^ M. Kemp, entry for The Lady with an Ermine in the exhibition Circa 1492: Art in the Age of Exploration (Washington-New Haven-London) pp 271f, states "the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure;" Janice Shell and Grazioso Sironi, "Cecilia Gallerani: Leonardo's Lady with an Ermine" Artibus et Historiae 13 No. 25 (1992:47-66) discuss the career of this identification since it was first suggested in 1900.
  4. ^ Syson 2011, 294
  5. ^ Kemp 2011, 253
  6. ^ Syson 2011, 294
  7. ^ For a partial list of scholars who accept the attribution, see Bailey, Martin (31 October 2011). "Leonardo's Saviour of the World rediscovered in New York". The Art Newspaper. http://www.theartnewspaper.com/articles/Leonardo%E2%80%99s%20Saviour%20of%20the%20World%20rediscovered%20in%20New%20York%20/25079. Retrieved 21 February 2012. 
  8. ^ Syson 2011, 302
  9. ^ Arasse, Daniel (1997). Leonardo da Vinci. Konecky & Konecky. ISBN 1-56852-198-7 
  10. ^ Adams, James (October 13, 2009). "Montreal art expert identifies da Vinci drawing". The Globe and Mail. http://www.theglobeandmail.com/news/arts/montreal-art-expert-identifies-da-vinci-drawing/article1322211/. Retrieved 2009-10-14. 
  11. ^ "The Mark of a Masterpiece" by David Grann, The New Yorker, vol. LXXXVI, no. 20, July 12 & 19, 2010, ISSN 0028792X
  12. ^ Kemp, Martin (2004). Leonardo. Oxford: Oxford University Press. p. 251.  The work does not appear in Kemp 2011.
  13. ^ Shearman, John (1992). Only Connect...: Art and the Spectator in the Italian Renaissance. Oxford: Oxford University Press. p. 33 
  14. ^ Arie, Sophie (16 February 2005). "Fingerprint puts Leonardo in the frame". The Guardian. http://www.guardian.co.uk/italy/story/0,12576,1415336,00.html. Retrieved 2007-09-27. 
  15. ^ "A lost Leonardo? Top art historian says maybe". Universal Leonardo. http://www.universalleonardo.org/news.php?item=398. Retrieved 2007-09-27. 
  16. ^ Bertelli, Carlo (November 19, 2005). "Due allievi non fanno un Leonardo" (in Italian). Il Corriere della Sera. http://img204.imageshack.us/img204/6291/bertellileonardosr5.jpg. Retrieved 2007-09-27. 
  17. ^ a b c Stephane Fitch DaVinci's Fingerprints, 12.22.03 accessed 7 July 2009. Martin Kemp, the expert on Leonardo's fingerprints, had not examined the painting when the article was written.
  18. ^ A similar image, without the tormentors, is in the Hermitage Museum, St Petersburg. [1]
  19. ^ Self-portrait of Leonardo, Surrentum Online, accessed 2010-11-06

Bibliography

  • Chapman, Hugo; Faietti, Marzia (2010). Fra Angelico to Leonardo: Italian Renaissance Drawings. London: British Museum Press. ISBN 978-0-7141-2667-8. 
  • Kemp, Martin (2011). Leonardo: Revised edition. Oxford: Oxford University Press 
  • Syson, Luke; Larry Keith, Arturo Galansino, Antoni Mazzotta, Scott Nethersole and Per Rumberg (2011). Leonardo da Vinci: Painter at the Court of Milan. London: National Gallery 

See also

External links