Leonardo da Vinci images and biography
Buy Leonardo da Vinci posters online - Click here!
Buy Leonardo da Vinci
posters online. Click here!

Mark Harden's ArtchiveEducators: please ask your finance department to support the Artchive!
Just $50 to join the ARTCHIVE PATRON PROGRAM gets your students two copies of the CD-ROM and password access to an online version of the site without ad banners! Purchase orders accepted, or receipts provided for your reimbursement. Thanks for helping to keep the Artchive as an important online resource.

Leonardo da Vinci

See also:


From "Sister Wendy's Story of Painting":


"There has never been an artist who was more fittingly, and without qualification, described as a genius. Like Shakespeare, Leonardo came from an insignificant background and rose to universal acclaim. Leonardo da Vinci was the illegitimate son of a local lawyer in the small town of Vinci in the Tuscan region. His father acknowledged him and paid for his training, but we may wonder whether the strangely self-sufficient tone of Leonardo's mind was not perhaps affected by his early ambiguity of status. The definitive polymath, he had almost too many gifts, including superlative male beauty, a splendid singing voice, magnificent physique, mathematical excellence, scientific daring ... the list is endless. This overabundance of talents caused him to treat his artistry lightly, seldom finishing a picture, and sometimes making rash technical experiments. The Last Supper, in the church of Santa Maria delle Grazie in Milan, for example, has almost vanished, so inadequate were his innovations in fresco preparation.

"Yet the works that we have salvaged remain the most dazzlingly poetic pictures ever created. The Mona Lisa has the innocent disadvantage of being too famous. It can only be seen behind thick glass in a heaving crowd of awe-struck sightseers. It has been reproduced in every conceivable medium; it remains intact in its magic, forever defying the human insistence on comprehending. It is a work that we can only gaze at in silence.

"Leonardo's three great portraits of women all have a secret wistfulness. This quality is at its most appealing in Cecilia Gallarani, at its most enigmatic in the Mona Lisa, and at its most confrontational in Ginevra de' Benci. It is hard to gaze at the Mona Lisa because we have so many expectations of it. Perhaps we can look more truly at a less famous portrait, Ginevra de' Benci. It has that haunting, almost unearthly beauty peculiar to Leonardo da Vinci.


"The subject of Ginevra de' Benci has nothing of the Mona Lisa's inward amusement, and also nothing of Cecilia's gentle submissiveness. The young woman looks past us with a wonderful luminous sulkiness. Her mouth is set in an unforgiving line of sensitive disgruntlement, her proud and perfect head is taut above the unyielding column of her neck, and her eyes seem to narrow as she endures the painter and his art. Her ringlets, infinitely subtle, cascade down from the breadth of her gleaming forehead (the forehead, incidentally, of one of the most gifted intellectuals of her time). These delicate ripples are repeated in the spikes of the juniper bush.

"The desolate waters, the mists, the dark trees, the reflected gleams of still waters - all these surround and illuminate the sitter. She is totally fleshly and totally impermeable to the artist. He observes, held rapt by her perfection of form, and shows us the thin veil of her upper bodice and the delicate flushing of her throat. What she is truly like she conceals; what Leonardo reveals to us is precisely this concealment, a self-absorption that spares no outward glance.


"We can always tell a Leonardo work by his treatment of hair, angelic in its fineness, and by the lack of any rigidity of contour. One form glides imperceptibly into another (the Italian term is sfumato), a wonder of glazes creating the most subtle of transitions between tones and shapes. The angel's face in the painting known as the Virgin of the Rocks in the National Gallery, London, or the Virgin's face in the Paris version of the same picture, have an interior wisdom, an artistic wisdom that has no pictorial rival.

"This unrivaled quality meant that few artists actually show Leonardo's influence: it is as if he seemed to be in a world apart from them. Indeed he did move apart, accepting the French King Francis I's summons to live in France. Those who did imitate him, like Bernardini Luini of Milan (c. 1485-1532), caught only the outer manner, the half-smile, the mistiness.

"The shadow of a great genius is a peculiar thing. Under Rembrandt's shadow, painters flourished to the extent that we can no longer distinguish their work from his own. But Leonardo's was a chilling shadow, too deep, too dark, too overpowering."

- From "Sister Wendy's Story of Painting", by Sister Wendy Beckett

Further reading on Leonardo da Vinci:

Buy Leonardo posters online - Click here!

Buy Leonardo da Vinci
POSTERS online

Click here!

Buy Leonardo Da Vinci

Click here!

Leonardo da Vinci Images

c. 1469 The Dreyfus Madonna (The Madonna with a Pomegranate)
c. 1472-75 The Annunciation
1474-76 Portrait of Ginevra Benci
1474-76 Portrait of Ginevra Benci (Detail of landscape)
1474-76 Portrait of Ginevra Benci (Detail of face)
c. 1478 Benois Madonna
c. 1480 St. Jerome
1481-82 The Adoration of the Magi
1483-86 The Virgin of the Rocks (Paris)
1483-86 The Virgin of the Rocks (Paris) - detail 1
1483-86 The Virgin of the Rocks (Paris) - detail 2
1483-90 Lady with an Ermine
1483-90 Lady with an Ermine (detail of ermine)
c. 1483-98 Rearing Horse
c. 1485 The Musician
c. 1487 Study of proportions (Vitruvius Man)
n.d. study of the porportions of the head and body
c. 1490 Study of Grotesque Heads
c. 1490-91 Madonna Litta
1490-95 Portrait of a Lady from the Court of Milan, called La Belle Ferronniere
c. 1496 Geometric Figure: Duodecendron elevatus vacuus
c. 1496 Geometric Figure: Tetracendron elevatus vacuus
1498 The Last Supper
1498 The Last Supper (with names of Apostles labelled)
1498 Study for the Composition of the Last Supper
1498 The Last Supper (Detail of Christ)
1498 The Last Supper (Detail of Philip)
1498 The Last Supper (Detail of Matthew)
1499 Portrait of Isabella d'Este
c. 1500 Head of a Woman (with eyes closed)
c. 1501 The Virgin and Child with St. Anne and the Young St. John the Baptist
c. 1503-04 Drawing depicting the casting of giant cannon
c. 1503-04 Mona Lisa
c. 1503-04 Mona Lisa (Detail)
1503-1506 The Virgin of the Rocks (London)
1503-06 The Virgin of the Rocks (London) - detail of the Virgin
c. 1504-06 Head of a Warrior
c. 1504-06 Sketches for "The Battle of Anghiari"
c. 1510 Distance from the Sun to the Earth and the size of the Moon
c. 1510 Head of a Young Woman
1510 The Virgin and Child with Saint Anne
1510-11 Head of a Woman
c. 1512 Self-Portrait
1513-16 John the Baptist
c. 1515 Muscles of the neck and shoulders
1517-18 Study of Cat Movements and Positions

[Art Posters] [Home] [Juxtapositions] [Galleries] [Theory and Criticism] [Art CD-ROM Reviews] [Artchive] [Links]

Help Support this Site...