LEONARDO DA VINCI

TYROWN VINCENT’S
LEONARDO DA VINCI
TYROWN VINCENT’S
BENOIS MADONNA
It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Verrocchio. There are two of preliminary sketches for this piece in the British Museum, although the painting was probably overpainted by other hands.

The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight. The child is thought to be guiding his mother's hands into his central vision.
Type
Year
Sizes
Oil on canvas
1478
49.5×33 cm (19.5×13 in)
Lady with an Ermine
The Lady with an Ermine is a portrait painting widely attributed to da Vinci. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza («Il Moro»), Duke of Milan.

Leonardo was painter to the Sforza court at the time of its execution. It is one of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronniere and the Monna Lisa.
Type
Year
Sizes
Oil on walnut panel
1489–1491
54×39 cm (21×15 in)
BENOIS MADONNA
It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Verrocchio. There are two of preliminary sketches for this piece in the British Museum, although the painting was probably overpainted by other hands.

The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight. The child is thought to be guiding his mother's hands into his central vision.
Type
Year
Sizes
Oil on canvas
1478
49.5×33 cm (19.5×13 in)
Lady with an Ermine
The Lady with an Ermine is a portrait painting widely attributed to da Vinci. Its subject is Cecilia Gallerani, a mistress of Ludovico Sforza («Il Moro»), Duke of Milan.

Leonardo was painter to the Sforza court at the time of its execution. It is one of only four surviving portraits of women painted by Leonardo, the others being Ginevra de' Benci, La Belle Ferronniere and the Monna Lisa.
Type
Year
Sizes
Oil on walnut panel
1489–1491
54×39 cm (21×15 in)
MADONNA OF THE CARNATION
The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in sumptuous clothes and jewellery, with her left hand Mary holds a carnation (red, suggesting blood and the Passion).

Originally this painting was thought to have been created by Andrea del Verrocchio, but subsequent art historians agree that it is Leonardo's work, probably made during his apprenticeship to Verrocchio.
Type
Year
Sizes
Oil on panel
1478–1480
62×47.5 cm (24×18.7 in)
Portrait of a Musician
The Portrait of a Musician is an unfinished painting. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars. One of Leonardo's best preserved paintings.

Perhaps influenced by Antonello da Messina's introduction of the Early Netherlandish style of portrait painting to Italy, the work marks a dramatic shift from the profile portraiture that predominated in 15th-century Milan.
Type
Year
Sizes
Oil on walnut panel
1489–1491
54×39 cm (21×15 in)
MADONNA OF THE CARNATION
The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in sumptuous clothes and jewellery, with her left hand Mary holds a carnation (red, suggesting blood and the Passion).

Originally this painting was thought to have been created by Andrea del Verrocchio, but subsequent art historians agree that it is Leonardo's work, probably made during his apprenticeship to Verrocchio.
Type
Year
Sizes
Oil on panel
1478–1480
62×47.5 cm (24×18.7 in)
Portrait of a Musician
The Portrait of a Musician is an unfinished painting. It is his only known male portrait painting, and the identity of its sitter has been closely debated among scholars. One of Leonardo's best preserved paintings.

Perhaps influenced by Antonello da Messina's introduction of the Early Netherlandish style of portrait painting to Italy, the work marks a dramatic shift from the profile portraiture that predominated in 15th-century Milan.
Type
Year
Sizes
Oil on walnut panel
1489–1491
54×39 cm (21×15 in)
LIFE IS PRETTY SIMPLE: YOU DO SOME STUFF. MOST FAILS. SOME WORKS. YOU DO MORE OF WHAT WORKS. IF IT WORKS BIG, OTHERS QUICKLY COPY IT. THEN YOU DO SOMETHING ELSE. THE TRICK IS THE DOING SOMETHING ELSE.
Leonardo Da Vinci
15 April 1452 — ­2 May 1519
LIFE IS PRETTY SIMPLE: YOU DO SOME STUFF. MOST FAILS. SOME WORKS. YOU DO MORE OF WHAT WORKS. IF IT WORKS BIG, OTHERS QUICKLY COPY IT. THEN YOU DO SOMETHING ELSE. THE TRICK IS THE DOING SOMETHING ELSE.
Leonardo Da Vinci
15 April 1452 — ­2 May 1519
ON EXHIBITIONS AND OTHER QUESTIONS
ON EXHIBITIONS AND OTHER QUESTIONS