List of works by Leonardo da Vinci

The Last Supper is Leonardo da Vinci's most famous work of religious art and his only surviving mural.

Leonardo da Vinci (baptised Leonardo di ser Piero da Vinci) ( pronunciation ), (April 15, 1452 – May 2, 1519) was one of the leading artists of the High Renaissance. Fifteen works are generally attributed either in whole or in large part to him. Most are paintings on panel, with the remainder a mural, a large drawing on paper, and two works in the early stages of preparation. The authorship of several paintings traditionally attributed to Leonardo being disputed. Two major works are known only as copies. Works are regularly attributed to Leonardo with varying degrees of credibility. None of Leonardo's paintings are signed. The attributions here draw on the opinions of various scholars.[1]

The small number of surviving paintings is due in part to Leonardo's 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 rivalled only by that of his contemporary, Michelangelo.

Major extant works

(sort by size of the original)
(sort by title)
Attribution status and notes Dating
(sort by earliest)
The Annunciation
Oil and tempera on poplar panel
98 × 217 cm
Florence, Uffizi
Generally accepted
Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.[1]
c.1473–4 (KEMP 2011)
c.1472–6 (SYSON 2011)
c.1473–5 (ZÖLLNER 2011)
c.1472–5, probably 1473–4 (MARANI 2000)
Baptism of Christ
The Baptism of Christ
Oil and tempera on poplar panel
177 × 151 cm
Florence, Uffizi
Verrocchio and Leonardo
Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo.[2] It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.[1]
c.1476 (KEMP 2011)
c.1470–2 and c.1475
(ZÖLLNER 2011)
c.1469–72 by Verrocchio, then resumed by Leonardo perhaps mid-1470s (COVI 2005, p. 186)
probably 1475–8 (MARANI 2000)
Madonna of the Carnation
Madonna of the Carnation
Tempera (?) and oil on poplar panel
62 × 47.5 cm
Munich, Alte Pinakothek
Generally accepted
It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.[1]
c.1475–6 (KEMP 2011)
c.1477–8 (SYSON 2011)
c.1472–8 (?) (ZÖLLNER 2011)
between 1473 and 1478
(MARANI 2000)
Ginevra de' Benci
Ginevra de' Benci
Oil and tempera on poplar panel
38.8 × 36.7 cm, 15.3 × 14.4 in
Washington, D.C., National Gallery of Art
Generally accepted
The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.[1]
c.1476–8 (KEMP 2011)
c.1474 / 1478 (SYSON 2011)
c.1478–80 (ZÖLLNER 2011)
c.1474 / 1475–6 (MARANI 2000)
Benois Madonna
Benois Madonna
Oil on wood panel, transferred to canvas
49.5 × 33 cm
St Petersburg, Hermitage
Generally accepted
Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.[1]
c.1479–80 (KEMP 2011)
c.1481 onwards (SYSON 2011)
c.1478–80 (ZÖLLNER 2011)
probably after March 1481 (MARANI 2000)
Adoration of the Magi
The Adoration of the Magi (unfinished)
Oil (underpainting) on wood panel
240 × 250 cm, 96 × 97 in
Florence, Uffizi
Universally accepted
c.1479–81 (KEMP 2011)
c.1480–2 (SYSON 2011)
1481/2 (ZÖLLNER 2011)
1481 (MARANI 2000)
S. Jerome in the Wilderness
St. Jerome in the Wilderness (unfinished)
Tempera and oil on walnut panel
103 × 75 cm, 41 × 30 in
Vatican Museums
Universally accepted
c.1480–2 (KEMP 2011)
c.1488–90 (SYSON 2011)
c.1480–2 (ZÖLLNER 2011)
probably c.1480 (MARANI 2000)
Madonna Litta
Madonna Litta
Tempera (and oil?) on poplar panel
42 × 33 cm
St Petersburg, Hermitage
Leonardo and another artist?[lower-alpha 1]
c.1481–97 (KEMP 2011)
c.1491–5 (SYSON 2011)
c.1490 (ZÖLLNER 2011)
not in checklist of MARANI 2000
Virgin of the Rocks
Virgin of the Rocks
(Louvre version)
Oil on wood panel, transferred to canvas
199 × 122 cm, 78.3 × 48.0 in
Paris, Louvre
Universally accepted
Considered by most historians to be the earlier of the two versions.
1483–c.1490 (KEMP 2011)
1483–c.1485 (SYSON 2011)
1483–1484/5 (ZÖLLNER 2011)
between 1483 and 1486
(MARANI 2000)
Portrait of a Musician
Portrait of a Musician (unfinished)
Tempera and oil on walnut (?) panel
45 × 32 cm
Milan, Pinacoteca Ambrosiana
Generally accepted[lower-alpha 2]
c.1485 (KEMP 2011)
c.1486–7 (SYSON 2011)
c.1485 (ZÖLLNER 2011)
probably c.1485 (MARANI 2000)
Lady with an Ermine
Lady with an Ermine
Oil on walnut panel
54 × 39 cm
Kraków, Czartoryski Museum
Generally accepted
First published as a Leonardo in 1889 and subject to wide disagreement, but now generally accepted. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting.[1] The subject has been identified as Cecilia Gallerani.[3]
c.1490 (KEMP 2011)
c.1489–90 (SYSON 2011)
1489/1490 (ZÖLLNER 2011)
1489–90 (MARANI 2000)
Virgin of the Rocks
Virgin of the Rocks
(London version)
Oil on parqueted poplar panel
189.5 × 120 cm, 74.6 × 47.25 in
London, National Gallery
Generally accepted
Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others.[1] Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.
c.1495–1508 (KEMP 2011)
c.1491/2–9 and 1506–8
(SYSON 2011)
c.1495–9 and 1506–8
(ZÖLLNER 2011)
1491 / 1494, finished by 1508 (MARANI 2000)
Last Supper
The Last Supper
Tempera on gesso, pitch and mastic
460 × 880 cm, 181 × 346 in
Milan, Convent of Santa Maria delle Grazie
Universally accepted
On 9 February 1498 Luca Pacioli described the mural as being complete.[4]
c.1495–8 (KEMP 2011)
1492–7/8 (SYSON 2011)
c.1495–8 (ZÖLLNER 2011)
between 1494 and 1498
(MARANI 2000)
Belle ferronnière
La belle ferronnière
Oil on walnut panel
62 × 44 cm
Paris, Louvre
Generally accepted
c.1496–7 (KEMP 2011)
c.1493–4 (SYSON 2011)
c.1496–7 (ZÖLLNER 2011)
c.1490–5 or 1495–6
(MARANI 2000)
Sala delle Asse
Sala delle Asse
Tempera on plaster
Milan, Castello Sforzesco
Universally accepted
Two fragments of Leonardo’s decorative scheme for this room were rediscovered in the late 19th century; they were covered over as they were thought not to be by his hand and were rediscovered again in 1954.[4]
c.1498–9 (KEMP 2011)
c.1498 (SYSON 2011)
c.1498–9 (ZÖLLNER 2011)
c.1497–8 (MARANI 2000)
Virgin and Child with St Anne and St John the Baptist
The Virgin and Child with St Anne and St John the Baptist
Charcoal, black and white chalk on tinted paper, mounted on canvas
142 × 105 cm, 55.7 × 41.2 in
London, National Gallery
Universally accepted
c.1499–1500 (SYSON 2011)
1499–1500 or c.1508 (?) (ZÖLLNER 2011)
c.1506–8 (CHAPMAN 2010)
c.1508 (KEMP 2006)
Italian scholars: c.1501–5; Pedretti and Anglo-Saxon scholars: 1506–8, but Wassermann: 1499
(MARANI 2000)
Portrait of Isabella d'Este
Portrait of Isabella d'Este
Black and red chalk, yellow pastel chalk on paper
63 × 46 cm
Paris, Louvre
Universally accepted
c.1499–1500 (SYSON 2011)
December 1499 – March 1500 (?) (ZÖLLNER 2011)
end of 1499 / early 1500
(MARANI 2000)
Madonna of the Yarnwinder
The Madonna of the Yarnwinder
(The Buccleuch Madonna)
Oil on walnut panel
48.9 × 36.8 cm
Edinburgh, Scottish National Gallery (on long-term loan from the Buccleuch collection)
Leonardo and another artist?[lower-alpha 3]
Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both.[5]
The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support.[6]
c.1501–7 (KEMP 2011)
c.1499 onwards (SYSON 2011)
1501–7 (ZÖLLNER 2011)
no date in MARANI 2000
Madonna of the Yarnwinder
The Madonna of the Yarnwinder (The Lansdowne Madonna)
Oil on wood panel (transferred to canvas and later re-laid on panel)
50.2 × 36.4 cm
United States, private collection
Underdrawing by Leonardo?[lower-alpha 4]
c.1501–7 (KEMP 2011)
c.1501–7 (?) (ZÖLLNER 2011)
no date in MARANI 2000
Virgin and Child with St. Anne
The Virgin and Child with St. Anne
Oil on wood panel
168 × 112 cm, 66.1 × 44.1 in
Paris, Louvre
Universally accepted
c.1508–17 (KEMP 2011)
c.1501 onwards (SYSON 2011)
c.1510–3 (MARANI 2000)
Mona Lisa
Mona Lisa
Oil on cottonwood (poplar) panel
76.8 × 53.0 cm, 30.2 × 20.9 in
Paris, Louvre
Universally accepted
c.1503–16 (KEMP 2011)
c.1502 onwards (SYSON 2011)
1503–6 and later (1510?) (ZÖLLNER 2011)
probably begun c.1503–4, finished by 1513–4
(MARANI 2000)
Head of a Woman
Head of a Woman
(La Scapigliata)
Earth, amber and white lead on wood panel
24.7 × 21 cm
Parma, Galleria Nazionale
Generally accepted[lower-alpha 5]
c.1508 (MARANI 2000)
not in checklist of KEMP 2011 or ZÖLLNER 2011
St. John the Baptist
St. John the Baptist
Oil on walnut panel
69 × 57 cm, 27.2 × 22.4 in
Paris, Louvre
Generally accepted
"Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.[1]
c.1508–16 (KEMP 2011)
c.1508–16 (ZÖLLNER 2011)
c.1508 (MARANI 2000)

Disputed attributions

Image Details Notes Dating
Tobias and the Angel
Egg tempera on poplar
83.6 × 66 cm
London, National Gallery
A painting by Verrocchio while Leonardo was in his workshop. Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.
c.1473 (KEMP 2011)
no date in MARANI 2000, but accepted by him
The Dreyfus Madonna
Oil on panel
15.7 × 12.8 cm, 6.13 × 5 in
Washington, D.C., National Gallery of Art
Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio.[1] Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).[7]
probably c.1469
(MARANI 2000)
Oil on walnut panel transferred to canvas
177 × 115 cm
Paris, Louvre
Generally considered to be a workshop copy of a drawing.[1]
c.1513–16 (KEMP 2011)
c.1510–5, later repainted and altered (MARANI 2000)
The Holy Infants Embracing
Several versions in private collections.
Portrait of a Lady in Profile
Milan, Pinacoteca Ambrosiana
Generally attributed to Ambrogio de Predis. The face is thought to show the hand of Leonardo.[8]
Portrait of a Young Fiancée
(La Bella Principessa)
Bodycolour (pastel) on vellum
33 × 22 cm
Switzerland, Private collection
Identified as a Leonardo by Martin Kemp on stylistic grounds, and confirmed using the evidence of a fingerprint.[9] Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question.[10] The presence of holes in the page shows it was once part of the Sforziade a manuscript kept in Warsaw, this fact points to its originality.
Salvator Mundi
Salvator Mundi
Oil on wood panel
45.4 cm × 65.6 cm, 25.8 in × 17.9 in
New York City, private collection
Accepted by some scholars[11]
Previously presumed to be the a later copy of a lost painting. Since its recent cleaning, it has gained acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere and are indicators of the paintings status as an "original".[12]
c.1504–7 (KEMP 2011)
c.1499 onwards (SYSON 2011)
c.1495–7? (MARANI 2000, when thought lost
Portrait of a man in red chalk
Red chalk on Paper
33.3 cm × 21.6 cm (13.1 in × 8.5 in)
Biblioteca Reale, Turin
Accepted by some scholars, but not universally accepted.[13][14]
Lucan Portrait of Leonardo da Vinci
tempera grassa on poplar
40 cm × 60 cm
Museo delle Antiche Genti di Lucania, Vaglio Basilicata
A painting discovered in 2008 near Naples, maybe the original self portrait of Leonardo da Vinci, is actually under deep restoration in order to obtain further proofs of the authenticity. It has been validated by scholars like Peter Hohenstatt (University of Parma), Alessandro Tomei (University of Chieti-Pescara), Jan Royt (University of Prague), David Bershad (University of Calgary) and Orest Kormashov (University of Tallin). The Carbon-14 analysis, the chemical analysis of the painting used and the "pentimento" sketches found under the painting may suggest the autography of the painting. The resemblance with the Uffizi XVII century copy of the "Self portrait of Leonardo da Vinci" is striking.

Lost works

Details Notes Image
Dragon shield
A juvenile work described by Giorgio Vasari, who said it was sold by Ser Piero da Vinci to merchants, who then sold it on to the Duke of Milan.[15]
Adam and Eve
Watercolour cartoon for a tapestry
Described in great detail by Vasari and the "Anonimo Gaddiano". Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford.[15]
Oil on panel
A juvenile work described by Vasari.
San Bernardo Altarpiece
Oil on panel
A commission for the chapel in Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed.[15] The commission had originally been given to Piero del Pollaiolo on 24 December 1477; its reallocation might have been arranged by Leonardo's father, who was a notary to the Signoria. After Leonardo's failure to fulfill the commission it was given to Domenico Ghirlandaio on 20 May 1483, but he did not complete the work either. It is sometimes mistakenly said that a Virgin and Child with Saints in the Uffizi by Filippino Lippi was the work finally delivered to the chapel, but this was painted for the Sala dei Dugento (council hall) of the palace.[16]
The Battle of Anghiari
Commissioned 4 May 1504
  • Peter Paul Rubens, copy of Leonardo's The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre
The remains of Leonardo's fresco may have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.
Leda and the Swan
Recorded by Cassiano dal Pozzo as being at Château de Fontainebleau in 1625
There are nine known copies of the painting, including:
Angel of the Annunciation
The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at right, known as The Incarnate Angel is a satirical copy, perhaps by Salaì, in the Kunstmuseum Basel.[17] There are some extant copies of the subject by Leonardeschi, including:
  • Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505–13? Oil on canvas (transferred from panel), 66 × 47.3 cm, Hermitage, St. Petersburg.[18]
  • Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Panel, 71 × 52 cm, Kunstmuseum Basel.[19]
  • Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Oil on panel, 75 × 53.4 cm, Ashmolean Museum, Oxford.[20]
  • Baccio Bandinelli. Annunciate Angel. Sketch after Leonardo da Vinci.

Some recent attributions

Image Details Attribution status
Madonna and Child with St Joseph or Adoration of the Christ Child
Tempera on panel
Diameter 87 cm
Rome, Galleria Borghese
Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.[21]
Mary Magdalene
Switzerland, private collection
Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes.[22] Carlo Pedretti's attribution of this painting is not accepted by other scholars, e.g. Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.[23]
Virgin of the Rocks Cheramy
Virgin of the Rocks Cheramy
Oil on wood panel, transferred to canvas.
154,5 × 122 cm;
Switzerland, Private Collection, formerly Paris, Chéramy Collection
Generally attributed to Giampetrino. Recently attributed to Leonardo and workshop by Professor Carlo Pedretti. Mentioned by Jean-Auguste-Dominique Ingres in 1845 and by Pierre Puvis de Chavannes, who were both convinced that it was a Leonardo original.
c.1495–7 (PEDRETTI)
c.1495–7 (MARANI 1991)
Christ Carrying the Cross
c. 1500
Oil on poplar
San Francisco, private collection
Previously attributed by Sotheby's to Gian Francesco Maineri.[24][25] Attributed to Leonardo by its present owner.[24] Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes Magazine, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."[24]
Lucan Portrait of Leonardo
Vaglio Basilicata, Museo delle Antiche Genti di Lucania
Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with the Ermine. Alternately attributed to Cristofano dell'Altissimo.[26]
Isleworth Mona Lisa
Switzerland, private collection
Its proponents claim that this is the earlier of two versions of the Mona Lisa, painted for Francesco del Giocondo (husband of Lisa) in 1503, and that the Louvre version was painted for Giuliano de' Medici in 1517.[27]
Horse and Rider
c. 1508
Private collection, London
Recently discovered[28] fragmentary wax statuette in a private collection in London, formerly in the Sangiorgi Collection in Rome, said to have come from the Melzi estate at Vaprio d’Adda. Attributed as “by Leonardo himself” by Professor Carlo Pedretti, in 1985.[29][30]


Image Title Dates Pages Notes Location
Codex Atlanticus 1478–1519 1,119 12 volumes, collated by the sculptor Pompeo Leoni. Milan, Pinacoteca Ambrosiana
Codex Windsor 1478–1518 153 Windsor, Royal Collection
Codex Arundel 1480–1518 283 London, British Library
Codex Trivulzianus c. 1487–90 55 (originally 62) Milan, Biblioteca Trivulziana, Castello Sforzesco
Codex Forster 1487–1505 354 Five pocket notebooks bound into three volumes, here listed in chronological order.
  • I.2 (Milan, c.1487–90): Discusses hydraulic engineering, the moving and raising of water and perpetual motion.
  • III (Milan, c.1490–3: Notes on geometry, weights and hydraulics interspersed with sketches of horses’ legs, what might be designs for ball costumes and a description of the anatomy of the human head.
  • II.1 (Milan, c.1495): Notes on the theory of proportions and other miscellaneous material.
  • II.2 (Milan, 1495–7): Notes on the theory of weights, traction, stresses and balances.
  • I.1 (Florence, 1505): Notes on the measurement of solid bodies and on topology.[31]
London, Victoria and Albert Museum
Paris Manuscripts 1488–1505 more than 2500

12 volumes labeled from "A" to "M", here listed in chronological order.

  • B (1488–90; 84 folios): Notebook including designs for flying machines (including the “helicopter”), a submarine, centrally-planned churches and war machines.[32]
  • C (1490−1; 28 folios. One section missing.) Treatise on light and shade; also discusses flow of water and percussion.[33]
  • A (c.1492): Fragment of a larger MS which included the Codex Ashburnham II. Subjects covered include painting, perspective, water and mechanics.[34]
  • H (1493–4; 142 folios): Three pocket notebooks bound together. Discusses Euclidean geometry and the design of drawing materials.[35]
  • M (late 1490s–1500; 48 folios): A pocket notebook on geometry, ballistics and botany.[36]
  • L (1497–1502; 94 folios): A notebook on military engineering, used by Leonardo when he was in the employ of Cesare Borgia.[37]
  • K (1503–8; 128 folios): Three pocket notebooks, mainly on geometry.[38]
  • I (1497–1505; 139 folios): Two pocket notebooks with notes on geometry, architecture, Latin, perspective and proportions for painters.[39]
  • D (1508–9; 10 folios with 20 drawings): Discusses theories of vision.[40]
  • F (1508–13; 96 folios): Discusses water, optics, geology and astronomy.[41]
  • E (1513–4; originally 96 folios): Discusses weights and the effects of gravity, an invention for draining the Pontine Marshes, geometry, painting and the flight of birds.[42]
  • G (1510–5; 93 folios): Primarily discusses botany.[43]
Paris, Bibliothèque de l’Institut de France
Codex Madrid 1490s–1504 Two volumes, rediscovered in 1966.
  • I (1490s): Mainly concerned with the science of mechanisms.[44]
  • II (1503–4): Miscellaneous drawings, including maps of the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.[45]
Madrid, Biblioteca Nacional de España
Codex Ashburnham c.1492 Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890. Paris, Bibliothèque de l’Institut de France
Codex on the Flight of Birds dated 1505 18 Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–7.[46] Turin, Biblioteca Reale
Codex Leicester 1506–1510 72 United States, private collection
Codex Urbinas c. 1530 An anthology of writings by Leonardo compiled after his death by his pupil Francesco Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).[47] Vatican City, Biblioteca Apostolica Vaticana


Sources for attribution status
  1. Madonna Litta: Leonardo da Vinci with Giovanni Antonio Boltraffio (Kemp 2011, p. 254); Leonardo da Vinci (Syson 2011); Boltraffio (?) after a design by Leonardo (Zöllner 2011, p. 227)
  2. Portrait of a Musician: Leonardo da Vinci (Kemp 2011, p. 254); Giovanni Antonio Boltraffio (?) and Leonardo (?) (Zöllner 2011, p. 225)
  3. Buccleuch Madonna: Leonardo da Vinci and an anonymous 16th-century painter (Syson 2011, p. 294); Workshop of Leonardo after a design by Leonardo (Zöllner 2011, p. 239)
  4. Lansdowne Madonna: Salaì after a design by Leonardo (Zöllner 2011, p. 238)
  5. La Scapigliata: Follower of Leonardo (Syson 2011, p. 198, n. 9); “ascribed today to Leonardo” (Marani 2000, p. 140)
  1. 1 2 3 4 5 6 7 8 9 10 11 della Chiesa, Angela Ottino (1967). The Complete Paintings of Leonardo da Vinci. Penguin. ISBN 0-14-008649-8.
  2. Giorgio Vasari, Lives of the Artists, 1568; this edition Penguin Classics, trans. George Bull 1965, ISBN 0-14-044164-6
  3. M. Kemp, entry for The Lady with an Ermine in the exhibition Circa 1492: Art in the Age of Exploration (Washington-New Haven-London) pp 271f, states "the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure;" Janice Shell and Grazioso Sironi, "Cecilia Gallerani: Leonardo's Lady with an Ermine" Artibus et Historiae 13 No. 25 (1992:47-66) discuss the career of this identification since it was first suggested in 1900.
  4. 1 2 Marani 2000, p. 339
  5. Kemp 2011, 253
  6. Syson 2011, 294
  7. Arasse, Daniel (1997). Leonardo da Vinci. Konecky & Konecky. ISBN 1-56852-198-7.
  8. Kemp, Martin (2004). Leonardo. Oxford: Oxford University Press. p. 251. The work does not appear in Kemp 2011.
  9. Adams, James (October 13, 2005). "Montreal art expert identifies da Vinci drawing". The Globe and Mail. Retrieved 2009-10-14.
  10. "The Mark of a Masterpiece" by David Grann, The New Yorker, vol. LXXXVI, no. 20, July 12 & 19, 2010, ISSN 0028-792X
  11. For a partial list of scholars who accept the attribution, see Bailey, Martin (31 October 2011). "Leonardo's Saviour of the World rediscovered in New York". The Art Newspaper. Retrieved 21 February 2012.
  12. Syson 2011, 302
  13. Scaramella, A. D. "Artwork Analysis self Portrait in Red Chalk by Leonardo Da Vinci". Helium Inc. Retrieved 16 November 2014.
  14. "Emergency Treatment for Leonardo da Vinci's Self-Portrait". Archival Products. Retrieved 16 November 2014.
  15. 1 2 3 4 5 Marani 2000, p. 431
  16. Rubin & Wright 1999, pp. 84 and 118, n. 25
  17. Shearman, John (1992). "Only Connect...: Art and the Spectator in the Italian Renaissance". Oxford: Oxford University Press: 33.
  18. Delieuvin 2012, cat. 80
  19. Delieuvin 2012, cat. 81
  20. "St John the Baptist". Your Paintings. BBC. Retrieved 15 July 2013.
  21. Arie, Sophie (16 February 2005). "Fingerprint puts Leonardo in the frame". The Guardian. Retrieved 2007-09-27.
  22. "A lost Leonardo? Top art historian says maybe". Universal Leonardo. Retrieved 2007-09-27.
  23. Bertelli, Carlo (November 19, 2005). "Due allievi non fanno un Leonardo" (in Italian). Il Corriere della Sera. Retrieved 2007-09-27.
  24. 1 2 3 Stephane Fitch DaVinci's Fingerprints, 12.22.03 accessed 7 July 2009. Martin Kemp, the expert on Leonardo's fingerprints, had not examined the painting when the article was written.
  25. A similar image, without the tormentors, is in the Hermitage Museum, St Petersburg.
  26. Self-portrait of Leonardo, Surrentum Online, accessed 2010-11-06
  27. "'Early Mona Lisa' painting claim disputed". BBC News. 27 September 2012. Retrieved 26 January 2013.
  28. "'Horse and Rider' Discovered Leonardo Da Vinci Sculpture". Huffington Post. 14 August 2012. Retrieved 16 January 2014.
  29. "Remarkable 500-year-old Leonardo Da Vinci casting of horse and rider unveiled after original was lost for centuries". Daily Mail News. 29 August 2012. Retrieved 16 January 2014.
  30. "Leonardo da Vinci's 'Horse and Rider'". BBC News. 28 August 2012. Retrieved 16 January 2014.
  31. "The Forster Codices: Leonardo da Vinci's Notebooks at the V&A". Victoria and Albert Museum. Retrieved 4 November 2012.
  32. "Paris Manuscript B". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  33. "Paris Manuscript C". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  34. "Paris Manuscript A". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  35. "Paris Manuscript H". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  36. "Paris Manuscript M". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  37. "Paris Manuscript L". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  38. "Paris Manuscript K". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  39. "Paris Manuscript I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  40. "Paris Manuscript D". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  41. "Paris Manuscript F". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  42. "Paris Manuscript E". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  43. "Paris Manuscript G". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  44. "Codex Madrid I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  45. "Codex Madrid II". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  46. Bambach 2003, p. 723
  47. "Codex Urbinas and lost Libro A". Universal Leonardo. University of the Arts, London. Retrieved 12 April 2012.
  • Bambach, Carmen C., ed. (2003). "Leonardo da Vinci: Master Draftsman". New Haven and London: Yale University Press. 
  • Chapman, Hugo; Faietti, Marzia (2010). "Fra Angelico to Leonardo: Italian Renaissance Drawings". London: British Museum Press. ISBN 978-0-7141-2667-8. 
  • Covi, Dario A. (2005). "Andrea del Verrocchio: Life and Work". Arte e archeologia: Studi e documenti (27). Florence: Leo S. Olschki Editore. 
  • Delieuvin, Vincent, ed. (2012). Saint Anne: Leonardo da Vinci’s Ultimate Masterpiece. Milan: Officina Libraria. 
  • Kemp, Martin (2006). "Leonardo da Vinci: The Marvellous Works of Nature and Man". Oxford: Oxford University Press. ISBN 978-0-1992-0778-7. 
  • Kemp, Martin (2011). "Leonardo: Revised edition". Oxford: Oxford University Press. 
  • Marani, Pietro C. (2000). "Leonardo da Vinci: The Complete Paintings". New York: Harry N. Abrams, Inc. 
  • Rubin, Patricia Lee; Wright, Alison (1999). "Renaissance Florence: The Art of the 1470s". London: National Gallery Publications. 
  • Syson, Luke; Larry Keith, Arturo Galansino, Antoni Mazzotta, Scott Nethersole and Per Rumberg (2011). "Leonardo da Vinci: Painter at the Court of Milan". London: National Gallery.  Cite uses deprecated parameter |coauthors= (help)
  • Zöllner, Frank (2011). "Leonardo da Vinci: The Complete Paintings and Drawings". 1. Cologne: Taschen. 
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