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Leonardo Da Vinci Art Gallery - Paintings, Drawing and Inventory. Da Vinci Work

Leonardo Da Vinci Paintings

Leonardo Da Vinci Paintings Gallery

Gallery of paintings attributed to Leonardo da Vinci, (Leonardo di ser Piero da Vinci) (April 15, 1452 – May 2, 1519), one of the leading artists of the High Renaissance.

Paintings, Invention, Secrets. Chronology, History and Art of 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.

The small number of surviving paintings is due to Leonardo's constant and 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.

LEONARDO DA VINCI was great Florentine trinity of painter.
The third person in the great Florentine trinity of painters was Leonardo da Vinci (1452-1519), the other two being Michael Angelo and Raphael. He greatly influenced the school of Milan, and has usually been classed with the Milanese, yet he was educated in Florence, in the workshop of Verrocchio, and was so universal in thought and methods that he hardly belongs to any school.

He has been named a realist, an idealist, a magician, a wizard, a dreamer, and finally a scientist, by different writers, yet he was none of these things while being all of them—a full-rounded, universal man, learned in many departments and excelling in whatever he undertook. He had the scientific and experimental way of looking at things. That is perhaps to be regretted, since it resulted in his experimenting with everything and completing little of anything. His different tastes and pursuits pulled him different ways, and his knowledge made him sceptical of his own powers. He pondered and thought how to reach up higher, how to penetrate deeper, how to realize more comprehensively, and in the end he gave up in despair. He could not fulfil his ideal of the head of Christ nor the head of Mona Lisa, and after years of labor he left them unfinished. The problem of human life, the spirit, the world engrossed him, and all his creations seem impregnated with the psychological, the mystical, the unattainable, the hidden.

He was no religionist, though painting the religious subject with feeling; he was not in any sense a classicist, nor had he any care for the antique marbles, which he considered a study of nature at second-hand. He was more in love with physical life without being an enthusiast over it. His regard for contours, rhythm of line, blend of light with shade, study of atmosphere, perspective, trees, animals, humanity, show that though he examined nature scientifically, he pictured it esthetically. In his types there is much sweetness of soul, charm of disposition, dignity of mien, even grandeur and majesty of presence. His people we would like to know better. They are full of life, intelligence, sympathy; they have fascination of manner, winsomeness of mood, grace of bearing. We see this in his best-known work—the Mona Lisa of the Louvre. It has much allurement of personal presence, with a depth and abundance of soul altogether charming.

Technically, Leonardo was not a handler of the brush superior in any way to his Florentine contemporaries. He knew all the methods and mediums of the time, and did much to establish oil-painting among the Florentines, but he was never a painter like Titian, or even Correggio or Andrea del Sarto. A splendid draughtsman, a man of invention, imagination, grace, elegance, and power, he nevertheless carried more by mental penetration and æsthetic sense than by his technical skill. He was one of the great men of the Renaissance, and deservedly holds a place in the front rank.

Though Leonardo's accomplishment seems slight because of the little that is left to us, yet he had a great following not only among the Florentines but at Milan, where Vincenza Foppa had started a school in the Early Renaissance time. Leonardo was there for fourteen years, and his artistic personality influenced many painters to adopt his type and methods. Bernardino Luini (1475?-1532?) was the most prominent of the disciples. He cultivated Leonardo's sentiment, style, subjects, and composition in his middle period, but later on developed independence and originality. He came at a period of art when that earnestness of characterization which marked the early men was giving way to gracefulness of recitation, and that was the chief feature of his art. For that matter gracefulness and pathetic sweetness of mood, with purity of line and warmth of color characterized all the Milanese painters.

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