Leonardo Da Vinci

Leonardo’s Virgin of the Rocks exists in two major versions, one in the Louvre and one in London’s National Gallery. Originally commissioned in the 1480s by a Milanese confraternity, the painting was intended to celebrate the Immaculate Conception, though Leonardo ignored specific instructions and depicted a more mystical scene with Mary, Jesus, John the Baptist, and an angel. The first version, rich in geological and botanical accuracy, was likely sold after a payment dispute. The second version was produced with help from Leonardo’s studio and differs subtly in composition, lighting, and symbolic detail. Both versions showcase Leonardo’s use of sfumato, chiaroscuro, and narrative gesture. The chapter also explores Leonardo’s collaborative studio practices and the androgynous depiction of the angel, likely based on his silverpoint drawing Head of a Young Woman, considered one of the most beautiful and technically masterful studies of the Renaissance.

This chapter examines several portraits Leonardo painted during his Milan years, including Portrait of a Musician, Lady with an Ermine, La Belle Ferronnière, and the controversial La Bella Principessa. Portrait of a Musician—unfinished and rigid—may depict Leonardo’s companion Atalante Migliorotti. Lady with an Ermine, a portrait of Ludovico Sforza’s mistress Cecilia Gallerani, is lauded for its emotional depth, dynamic pose, and luminous light effects. La Belle Ferronnière, possibly of Lucrezia Crivelli, explores reflected light and viewer interaction but is less universally admired. The chapter concludes with the dramatic story of La Bella Principessa, a drawing whose attribution to Leonardo sparked debate involving fingerprint analysis, vellum dating, digital forensics, and scholarly disagreement. The authentication journey, marked by twists, skepticism, and eventual support from Leonardo experts, highlights the complexity of connoisseurship and the scientific and humanistic fascination surrounding Leonardo’s legacy.

This chapter explores Leonardo’s defense of painting as the highest of the liberal arts, articulated in a public paragone (comparison) debate in 1498 and developed in his notebooks and treatise drafts. He argued that painting combines science and imagination, requiring knowledge of optics, perspective, light, shadow, and human motion. He emphasized sight’s supremacy over other senses and described painting as both an intellectual and creative act. Leonardo also challenged the dominance of lines in art, instead favoring gradations of shadow to model form. His pioneering insights into light, vision, and sfumato were supported by experiments, anatomical dissections, and optical studies. Though he never published his treatise, his assistant Melzi later compiled it from Leonardo’s notes. Leonardo’s approach blurred the line between observation and invention, art and science, reinforcing the central tenet of his genius: that creativity thrives at the intersection of disciplines.

This chapter details Leonardo’s creation of The Last Supper, his iconic mural for the refectory of Santa Maria delle Grazie in Milan. Commissioned by Ludovico Sforza, the painting captured a dramatic biblical moment—Jesus announcing his betrayal—with psychological depth, expressive gestures, and innovative use of perspective. Leonardo’s working style was irregular, oscillating between intense focus and long pauses, prompting both awe and concern. He layered tempera and oil on dry plaster to allow detailed, subtle effects, but the technique proved unstable and led to early deterioration. Leonardo applied theatrical stagecraft to the composition, choreographing gestures to convey emotion and narrative progression. He also manipulated visual perspective to accommodate multiple viewing angles within the dining hall. After centuries of decay and flawed restorations, a major 20th-century conservation effort aimed to recover Leonardo’s vision, highlighting both the genius and fragility of his experimental approach.

In 1493, Leonardo’s mother Caterina came to live with him in Milan, and he carefully recorded her arrival and funeral expenses after her death in 1494. While emotionally reserved in his writings, his records suggest a respectfully arranged burial. Around this time, Leonardo’s professional life also grew unstable. After completing The Last Supper, his grand equestrian statue was canceled due to the French threat, and he was relegated to lesser projects like decorating the Sala delle Asse, which became mired in disputes and technical difficulties. Financial frustrations mounted, and Leonardo even drafted job applications. In 1499, French forces invaded Milan, destroying his horse model but sparing The Last Supper. Surprisingly, the French appreciated his work; Leonardo stayed briefly before arranging a return to Florence. As political turmoil ended his tenure in Milan, Leonardo transitioned into a new phase of his career and life.

After fleeing Milan in 1500, Leonardo traveled through Mantua and Venice before returning to Florence. In Mantua, he sketched Isabella d’Este; in Venice, he proposed imaginative military inventions, including diving suits and flood defenses. Back in Florence, he entered a highly productive period, beginning The Mona Lisa, Virgin and Child with Saint Anne, and Madonna of the Yarnwinder. He continued engineering work and anatomical studies while living at the church of Santissima Annunziata. Now approaching 50, Leonardo embraced his flamboyant persona, dressing in colorful satin and velvet alongside his companion Salai. Despite repeated entreaties, he never painted Isabella d’Este’s portrait. Her lobbying campaign spanned six years and revealed Leonardo’s aversion to commissions that didn’t inspire him. Meanwhile, Madonna of the Yarnwinder, created collaboratively in his workshop, became highly influential, demonstrating Leonardo’s mastery of emotional narrative and collaborative studio practice.