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1、Leonardo was not a prolific painter, but he was a most prolific draftsman, keeping journals full of small sketches and detailed drawings recording all manner of things that took his attention. As well as the journals there exist many studies for paintings, some of which can be identified as preparat

2、ory to particular works such as The Adoration of the Magi, The Virgin of the Rocks and The Last Supper. His earliest dated drawing is a Landscape of the Arno Valley, 1473, which shows the river, the mountains, Montelupo Castle and the farmlands beyond it in great detail. Among his famous drawings ar

3、e the Vitruvian Man, a study of the proportions of the human body, the Head of an Angel, for The Virgin of the Rocks in the Louvre, a botanical study of Star of Bethlehem and a large drawing (160100 cm) in black chalk on coloured paper of the The Virgin and Child with St. Anne and St. John the Bapti

4、st in the National Gallery, London. This drawing employs the subtle sfumato technique of shading, in the manner of the Mona Lisa. It is thought that Leonardo never made a painting from it, the closest similarity being to The Virgin and Child with St. Anne in the Louvre. Other drawings of interest in

5、clude numerous studies generally referred to as caricatures because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that if Leonardo saw a person with an interesting face he would follow them around all day observing them. There are numerous studies of

6、beautiful young men, often associated with Salai, with the rare and much admired facial feature, the so-called Grecian profile.These faces are often contrasted with that of a warrior. Salai is often depicted in fancy-dress costume. Leonardo is known to have designed sets for pageants with which thes

7、e may be associated. Other, often meticulous, drawings show studies of drapery. A marked development in Leonardos ability to draw drapery occurred in his early works. Another often-reproduced drawing is a macabre sketch that was done by Leonardo in Florence in 1479 showing the body of Bernado Baronc

8、elli, hanged in connection with the murder of Giuliano, brother of Lorenzo deMedici, in the Pazzi Conspiracy. With dispassionate integrity Leonardo has registered in neat mirror writing the colours of the robes that Baroncelli was wearing when he died.MONA LISAMona Lisa (also known as La Gioconda) i

9、s a 16th century portrait painted in oil on a poplar panel by Leonardo Da Vinci during the Italian Renaissance. The work is owned by the French government and hangs in the Muse du Louvre in Paris, France with the title Portrait of Lisa Gherardini, wife of Francesco del GiocondoDetail of the backgrou

10、nd (right side) Detail of Lisas hands, her right hand resting on her left hand. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded han

11、ds form the front corner of the pyramid. Her breast, neck and face glow in the same light that models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seate

12、d Madonna, which were widespread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and the viewer.The woman sits markedly upright with

13、her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observers attraction to Mona Lis

14、as face is brought to even greater extent. Thus, the composition of the figure evokes an ambiguous effect: we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature. There is no indication of an intimate dialogue between the woman and the observer as i

15、s the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years after Mona Lisa, and undoubtedly influenced by Leonardos portrait.The painting was among the first portraits to depict the sitter before an imaginary landscape. The enigmatic woman is portrayed seated in

16、 what appears to be an open loggia with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the womans hair and clothing, created through sfumato, are

17、echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardos style. Due to the expressive synthesis that Leonardo achieved between sitter and landscape it is

18、arguable whether Mona Lisa should be considered as a traditional portrait, for it represents an ideal rather than a real woman. The sense of overall harmony achieved in the paintingespecially apparent in the sitters faint smilereflects Leonardos idea of a link connecting humanity and nature.Mona Lis

19、a has no visible facial hairincluding eyebrows and eyelashes. Some researchers claim that it was common at this time for genteel women to pluck them out, since they were considered to be unsightly. For modern viewers the missing eyebrows add to the slightly semi-abstract quality of the face.THE LAST

20、 SUPPERThe Last Supper (14951498)Convent of Sta. Maria delle Grazie, Milan, ItalyThe Last Supper (Italian: Il Cenacolo or LUltima Cena) is a 15th century mural painting in Milan created by Leonardo da Vinci for his patron Duke Ludovico Sforza and his duchess Beatrice dEste. It represents the scene o

21、f The Last Supper from the final days of Jesus as narrated in the Gospel of John 13:21, when Jesus announces that one of his Twelve apostles would betray him. The painting measures 460 880 centimeters.The theme was a traditional one for refectories, but Leonardos interpretation gave it much greater

22、realism and depth.THE ARNO VALLEYLeonardos earliest known drawing, the Arno Valley, (1473) - UffiziThe first known and dated work of Leonardo da Vinci is a pen and ink drawing of a valley shaped by the river Arno. This drawing dated 5th of August 1473 reflects the ingenious mind of Leonardo. The Arn

23、o valley is drawn with aerial perspective by allowing the color of the paper to dominate and less details as the depth increases. This effect will be called later the perspective of disappearance.THE BAPTISM OF CHRISTThe Baptism of Christ (14721475)Uffizi, by Verrocchio and LeonardoPainting the youn

24、g angel holding Jesus robe in a manner that was so far superior to his masters that Verrocchio put down his brush and never painted again. The painting reveals much that has been painted or touched up over the tempera using the new technique of oil paint, the landscape, the rocks that can be seen th

25、rough the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo.ANNUNCIATIONAnnunciation (14751480)Uffizi, is thought to be Leonardos earliest complete Work (Oil on panel, 98 217) cm The Annunciation (14721475) is a painting by Leonardo da Vinci in the Uffizi

26、Gallery in Florence. It depicts the annunciation by the Archangel Gabriel to the Virgin Mary that she will conceive Jesus Christ and is set in the enclosed courtyard garden of a Florentine villa.The angel holds a Madonna lily, a symbol of Marys virginity and of the city of Florence. It is supposed t

27、hat Leonardo originally copied the wings from those of a bird in flight, but they have since been lengthened by a later artist.THE ADORATION OF THE MAGIThe Adoration of the Magi , (1481) Uffizi, Florence, Italy. The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given

28、the commission by the Augustinian monks of San Donato a Scopeto in Florence, but departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670.The Virgin Mary and Child are depicted in the foreground and form a triangular shape with

29、the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo (on the far right). In the background on the left is the ruin of a pagan building, on which workmen can be seen, apparently repairing it. On the right are

30、men on horseback fighting, and a sketch of a rocky landscape. Virgin of the Rocks (Louvre) Virgin of the Rocks (London)This version is in the Louvre, painted around 1483-1486, or earlier. Most authorities agree that the work is very largely by Leonardo, and is the earlier of the two works. The fine

31、brush work and use of chiaroscuro, or contrast between light and dark, are considered characteristic of many of Leonardos works. It is about 8cm taller than the London version. The first record of this picture is in 1625, when it was in the French royal collection.An almost identical painting is in

32、the National Gallery, London, ascribed to Leonardo da Vinci, probably before 1508. Assistants, perhaps the de Predis brothers, probably painted some parts of the work. It was painted for the chapel of the Confraternity of the Immaculate Conception, in the church of San Francesco Grande in Milan. It

33、was sold by the church, very likely in 1781, and certainly by 1785, when it was bought by Gavin Hamilton, who took it to England. After passing through various collections, it was bought by the National Gallery in 1880.STUDY OF HORSE FROM LEONARDOS JOURNALSStudy of horse from Leonardos journals Roya

34、l Library, Windsor CastleA model for a huge equestrian monument to Francesco Sforza, Ludovicos predecessor. Seventy tons of bronze were set aside for casting it. The monument remained unfinished for several years, which was not unusual for Leonardo. In 1492 the clay model of the horse was completed.

35、 It surpassed in size the only two large equestrian statues of the Renaissance, Donatellos statue of Gattemelata in Padua and Verrocchios Bartolomeo Colleoni in Venice, and became known as the Gran Cavallo. Leonardo began making detailed plans for its casting, however, Michelangelo rudely implied th

36、at Leonardo was unable to cast it. In November 1494 Ludovico gave the bronze to be used for cannons to defend the city from invasion by Charles VIII. At the start of the Second Italian War in 1499, the invading French troops used the life-size clay model for the Gran Cavallo for target practice. THE

37、 BATTLE OF ANGHIARIThe Battle of Anghiari (1505) is a lost painting by Leonardo da Vinci at times referred to as, The Lost Leonardo, which some commentators believe to be still hidden beneath later frescoes in the Hall of Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence. Its ce

38、ntral scene depicted a fierce battle between two men riding raging war-horses.ST. JOHN THE BAPTISTSt. John the Baptist is an oil painting on walnut wood by the artist Leonardo da Vinci. Completed from 1513 to 1516, when the High Renaissance was metamorphosing into Mannerism, it is believed to be his

39、 last painting. The original size of the work was 69x57 cm. It is now housed at the Muse du Louvre in Paris, France. The piece depicts St. John the Baptist in isolation. St. John is dressed in pelts, has long curly hair, and is smiling in an enigmatic manner which is reminiscent of Leonardos famous

40、Mona Lisa. He holds a red cross in his left hand while his right hand points up toward heaven. It is believed that the cross and wool skins were added at a later date by another painter.GINEVRA DE BENCIGinevra de Benci (Born 1457) was a lady of the aristocratic class in 15th century Florence, admire

41、d for her intelligence by Florentine contemporaries. It is known from three written sources that Leonardo painted a portrait of Ginevra de Benci in 1474 in commemoration of her marriage to Luigi Niccolini, and the paintings imagery and reverse text support this theme. Directly behind the young lady

42、in the portrait is a juniper tree. The Italian word for juniper is ginepro, which suggests that the juniper motif may be a symbolic pun on Ginevras name. Fittingly, juniper was also a Renaissance symbol for chastity. ST. JEROME IN THE WILDERNESSSt Jerome in the Wilderness (c. 1480) is an unfinished

43、painting by Leonardo da Vinci, now in the Vatican Museums, Rome. It depicts Saint Jerome during his retreat to the Syrian desert, where he lived the life of a hermit. At his feet is the lion which became a loyal companion to Jerome after he extracted a thorn from its paw, and which is a traditional

44、attribute of the saint. On the left-hand side of the panel the background is a rocky landscape shrouded in mist using Leonardos famed sfumato technique, whereas the opening in the rocks on the right-hand side has not got past the sketching stage. The only discernible feature is a church on a basilic

45、a plan; its presence alludes to Jeromes position in Western Christianity as one of the Doctors of the Church. MADONNA AND CHILD WITH FLOWERSMadonna and Child with Flowers,(Oil on canvas, 49.5 33 cm)otherwise known as the Benois Madonna, could be one of two Madonnas started by Leonardo da Vinci, as h

46、e remarked himself, in October 1478. It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Verrocchio. There are two Leonardos preliminary sketches for this piece in the British Museum. As for Madonnas toothless smile, it is tempting to suggest tha

47、t the work, like so many other Leonardos paintings, was left unfinished.THE MADONNA OF THE CARNATIONThe Madonna of the Carnation (Oil on panel, 62 47.5 cm) is a oil painting by Leonardo da Vinci created sometime around 1478-1480. It is currently displayed at Alte Pinakothek in Munich, Germany.THE VI

48、RGIN AND CHILD WITH ST. ANNE AND ST. JOHN THE BAPTISTThe Virgin and Child with St Anne and St John the Baptist, (14991500 charcoal, black and white chalk on tinted paper,141.5 104.6 cm)sometimes called The Burlington House Cartoon, is a full-size cartoon by Leonardo da Vinci. It is a combination of two themes popular in Florentine painting of the 15th century: the Virgin (Mary) and Child with St John the Baptist (son of Marys relative Elizabeth) and the Virgin and Child with