All Leonardo Da Vinci 's Paintings
The Painting Names Are Sorted From A to Z


Choice ID Image  Paintings (From A to Z)       Details 
33468 Adoration of the Magi  Adoration of the Magi   mk86 c.1481 Oil and bistre on wood 240x246cm Florence,Galleria degli Uffizi.
94722 Bacchus  Bacchus   1510-1515 Type Oil on walnut panel transferred to canvas Dimensions 177 cm ?? 115 cm (70 in ?? 45 in) cyf
20096 Bacchus (mk05)  Bacchus (mk05)   Canvas,69 1/2 x 45 1/2''(177 x 115 cm).Collection of Louis
50879 Cartoon  Cartoon   mk216 Drew this cartoon,a full-scale composition of the Virgin and Child with St Anne and the Infant St John the Baptist.
48637 Detail of Madonna of the Rocks  Detail of Madonna of the Rocks   mk191 Oil on board
48638 Detail of Madonna of the Rocks  Detail of Madonna of the Rocks   mk191 Flowers oil on the board
48639 Detail of Madonna of the Rocks  Detail of Madonna of the Rocks   mk191 Oil on board
44880 Flower Studies  Flower Studies   mk176 c.1505-08
45892 Horses with horsemen  Horses with horsemen   mk178 after 1481 Metallstifizeichnung, with feather and brown India ink reinforced on Prapariertem paper 14.3x12.8cm
94731 John the Baptist  John the Baptist   1513-1516 Type Oil on walnut wood Dimensions 69 cm ?? 57 cm (27.2 in ?? 22.4 in) cyf
84872 La Belle Ferronniere  La Belle Ferronniere   Probably before 1750 Medium Oil on canvas cyf
40272 Lady with Emine  Lady with Emine   mk156 1483-1490 Oil on panel 54x39cm
33467 Last Supper  Last Supper   mk86 1495-1498 Oil tempera on plaster 460x880cm Milan,Santa Maria delle Grazie, Refectory
52320 Madonna and Child with a Pomegranate  Madonna and Child with a Pomegranate   1472-76 Oil on panel, 15,7 x 12,8 cm
48636 Madonna of the Rocks  Madonna of the Rocks   mk191 about 1508 oil on board 189.5x120cm
56817 Madonna of the Rocks  Madonna of the Rocks   mk250 About the year 1485. Oil painting of wood, about 190.5 x 109.2 cm. The Louvre in Paris.
40239 Madonna with a Flower  Madonna with a Flower   mk156 1478 Oil on canvas 49.5x33cm
40280 Mona Lisa  Mona Lisa   mk156 c.1503-1506 Oil on poplar panel 77x53cm
55904 Mona lisa  Mona lisa   1503 , oil on wood panel , 30.375x20.875 in ,77x53 cm, louvre,paris,france
45583 Pod of cherry and forest strawberry  Pod of cherry and forest strawberry   mk186 1487-89 Paris institute de France
20962 Portrait of a Lady at the Court of Milan (san05)  Portrait of a Lady at the Court of Milan (san05)   Wood 25 x 17 1/2''(63 x 45 cm)Collection of Louis XIV INV 778 (MN)
88664 Portrait of Ginevra de' Benci  Portrait of Ginevra de' Benci   between 1474(1474) and 1478(1478) Medium Oil on wood cyf
20958 Portrait of Mona Lisa,La Gioconda (mk05)  Portrait of Mona Lisa,La Gioconda (mk05)   1503-1506 Wood 30 1/4 x 21''(77 x 53 cm)The subject is thought to be the wife of a Florentine,Francesco del Giocondo Cut at the sides,losing pillars framing a window,which are now barely visible.Entered the Louvre about 1519 INV 779 (MN)
45845 Regisol  Regisol   mk178 1490 pen-and-ink drawings 2.9x3.6cm
52323 Reverse side of the portrait of Ginevra de' Benci  Reverse side of the portrait of Ginevra de' Benci   1474-46 Oil on wood, 38,8 x 36,7 cm
63028 Studies for a Nativity  Studies for a Nativity   193 x 162 mm Metropolitan Museum of Art, New York Leonardo left hundreds of notebooks filled with drawings in which he explored ideas, compositions, or inventions. His curiosity led him to sketch and puzzle out diverse subjects, such as running water, growing plants, and human anatomy. The series of sketches on this sheet show Leonardo exploring a theme that would later emerge as the Virgin of the Rocks, in which the Virgin kneels over the infant Jesus, raising her right hand in benediction. Artist: LEONARDO da Vinci Painting Title: Studies for a Nativity , 1451-1500 Painting Style: Italian , graphics Type: study
62436 Study for a kneeling Leda  Study for a kneeling Leda   1503-07 Black chalk, pen and ink on paper, 126 x 109 cm Museum Boijmans Van Beuningen, Rotterdam Leda, the wife of the king of Sparta, was seduced by Zeus in the form of a swan. She gave birth to two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. This and a second compositional plan in Chatsworth show the kneeling Leda gently embracing the swan. With her right hand she is pointing to the children.
52322 Study for the Trivulzio Equestrian Monument  Study for the Trivulzio Equestrian Monument   1508-10 Pen and ink on paper, 280 x 198 mm
52328 Study of a child  Study of a child   c. 1508 Chalk on paper
40234 The Annunciation  The Annunciation   mk156 c.1472 Oil and tempera on panel 98x217cm
51691 The Annunciation  The Annunciation   nn09 c.1472-75 Oil on wood 98x217cm
44883 The Battle of Anghiari  The Battle of Anghiari   mk176 1503-06 Oil on plaster
40265 The Last Supper  The Last Supper   mk156 1495-1498 Oil and tempera on stone 460x880cm
20097 The Virgin and Child with Anne (mk05)  The Virgin and Child with Anne (mk05)   Wood 66 1/4 x 51 1/4\'\'(168 x 130 cm)Entered the Louvre in 1636
40277 The Virgin of the Rocks  The Virgin of the Rocks   mk156 1483-86 Oil on panel 199x122cm
42972 The Virgin of the Rocks  The Virgin of the Rocks   mk170 Cira 1508 Oil on wood 189.5x
86422 The Virgin of the Rocks  The Virgin of the Rocks   1503-1506 Medium Oil on panel Dimensions 189.5 x 120 cm (74.6 x 47.2 in) cyf
33454 Virgin and Child with St Anne and St John the Baptist  Virgin and Child with St Anne and St John the Baptist   mk86 c.1495 Charcoal,heightened with white on cardboard 144.5x104cm London,National Gallery
44891 Virgin of the Rocks  Virgin of the Rocks   mk176 c.1485 Oil on wood 190.5x109.5
21762 Virgin of the Rocks (mk10)  Virgin of the Rocks (mk10)   Oil on canvas, 199 x 122 cm Paris,Musee du Louvre

Leonardo Da Vinci
Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.

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