Las óleos de todo Leonardo Da Vinci
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ID |
Image |
Painting (From A to Z) |
Details |
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33468 |
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Adoration of the Magi |
mk86
c.1481
Oil and bistre on wood
240x246cm
Florence,Galleria degli Uffizi.
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94722 |
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Bacchus |
1510-1515
Type Oil on walnut panel transferred to canvas
Dimensions 177 cm x 115 cm (70 in x 45 in)
cyf |
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20096 |
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Bacchus (mk05) |
Canvas,69 1/2 x 45 1/2''(177 x 115 cm).Collection of Louis |
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50879 |
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Cartoon |
mk216
Drew this cartoon,a full-scale composition of the Virgin and Child with St Anne and the Infant St John the Baptist.
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48637 |
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Detail of Madonna of the Rocks |
mk191
Oil on board
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48638 |
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Detail of Madonna of the Rocks |
mk191
Flowers oil on the board
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48639 |
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Detail of Madonna of the Rocks |
mk191
Oil on board
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44880 |
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Flower Studies |
mk176
c.1505-08
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45892 |
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Horses with horsemen |
mk178
after 1481 Metallstifizeichnung, with feather and brown India ink reinforced on Prapariertem paper
14.3x12.8cm |
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94731 |
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John the Baptist |
1513-1516
Type Oil on walnut wood
Dimensions 69 cm x 57 cm (27.2 in x 22.4 in)
cyf |
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84872 |
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La Belle Ferronniere |
Probably before 1750
Medium Oil on canvas
cyf |
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40272 |
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Lady with Emine |
mk156
1483-1490
Oil on panel
54x39cm
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33467 |
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Last Supper |
mk86
1495-1498
Oil tempera on plaster
460x880cm
Milan,Santa Maria delle Grazie,
Refectory
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52320 |
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Madonna and Child with a Pomegranate |
1472-76 Oil on panel, 15,7 x 12,8 cm |
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48636 |
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Madonna of the Rocks |
mk191
about 1508
oil on board
189.5x120cm
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56817 |
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Madonna of the Rocks |
mk250 About the year 1485. Oil painting of wood, about 190.5 x 109.2 cm. The Louvre in Paris. |
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40239 |
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Madonna with a Flower |
mk156
1478
Oil on canvas
49.5x33cm
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40280 |
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Mona Lisa |
mk156
c.1503-1506
Oil on poplar panel
77x53cm
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55904 |
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Mona lisa |
1503 , oil on wood panel , 30.375x20.875 in ,77x53 cm, louvre,paris,france |
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45583 |
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Pod of cherry and forest strawberry |
mk186
1487-89 Paris institute de France |
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20962 |
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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) |
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88664 |
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Portrait of Ginevra de' Benci |
between 1474(1474) and 1478(1478)
Medium Oil on wood
cyf |
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20958 |
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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) |
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45845 |
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Regisol |
mk178
1490
pen-and-ink drawings 2.9x3.6cm |
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52323 |
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Reverse side of the portrait of Ginevra de' Benci |
1474-46 Oil on wood, 38,8 x 36,7 cm |
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63028 |
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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 |
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62436 |
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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. |
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52322 |
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Study for the Trivulzio Equestrian Monument |
1508-10 Pen and ink on paper, 280 x 198 mm |
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52328 |
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Study of a child |
c. 1508 Chalk on paper |
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40234 |
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The Annunciation |
mk156
c.1472
Oil and tempera on panel
98x217cm
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51691 |
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The Annunciation |
nn09
c.1472-75
Oil on wood
98x217cm
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44883 |
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The Battle of Anghiari |
mk176
1503-06
Oil on plaster
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40265 |
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The Last Supper |
mk156
1495-1498
Oil and tempera on stone
460x880cm
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20097 |
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The Virgin and Child with Anne (mk05) |
Wood 66 1/4 x 51 1/4\'\'(168 x 130 cm)Entered the Louvre in 1636 |
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40277 |
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The Virgin of the Rocks |
mk156
1483-86
Oil on panel
199x122cm
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42972 |
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The Virgin of the Rocks |
mk170
Cira 1508
Oil on wood
189.5x |
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86422 |
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The Virgin of the Rocks |
1503-1506
Medium Oil on panel
Dimensions 189.5 x 120 cm (74.6 x 47.2 in)
cyf |
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33454 |
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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
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44891 |
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Virgin of the Rocks |
mk176
c.1485
Oil on wood
190.5x109.5 |
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21762 |
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Virgin of the Rocks (mk10) |
Oil on canvas,
199 x 122 cm
Paris,Musee du Louvre |
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| Leonardo Da Vinci
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| 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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