National Geographic : 2019 May
ca 1473 Tobias and the Angel ca 1473-74 Annunciation ca 1475-76 Madonna and Child With a Carnation ca 1476 The Baptism of Christ ca 1476-78 Ginevra de' Benci ca 1480-82 Saint Jerome in the Wilderness ca 1479-1480 Madonna and Child (Benois Madonna) ca 1479-1481 Adoration of the Magi ca 1483-1490 Virgin of the Rocks ca 1485 Portrait of a Musician ca 1490 Portrait of Cecilia Gallerani (Lady With an Ermine) ca 1495-1508 Virgin of the Rocks ca 1496-97 Portrait of a Lady From the Court of Milan ca 1495-98 The Last Supper ca 1498-99 Sala delle Asse* ca 1504-07 Salvator Mundi ca 1501-07 Madonna of the Yarnwinder (Lansdowne Madonna) ca 1501-07 Madonna of the Yarnwinder (Buccleuch Madonna) ca 1508-1517 Virgin and Child With Saint Anne ca 1508-1516 Saint John the Baptist ca 1513-16 Saint John the Baptist** ca 1506 The Battle of Anghiari (copy by Peter Paul Rubens) Sandro Botticelli Detail of Birth of Venus, Botticelli, 1484–86 (below) Leonardo da Vinci Sandro Botticelli In a few cases, legal disputes and popular demand may have led Leonardo to create multiple versions of the same work. TOTAL PAINTINGS 24 ca 1506-08 Leda and the Swan (copy by Cesare da Sesto) ca 1503-1516 Mona Lisa Leonardo da Vinci Contribution to work by Andrea del Verrocchio 2 With assistance 5 6 2 4 Lost Extent of Leonardo's contributions disputed Unfinished A B A B 7.2 ft 14.5 ft 15 ft Ideal vantage point (A) (B) Blurring the Lines Leonardo didn’t sign his paintings; collaboration was a common practice in his time, one that makes attribution a challenge today. But the 24 works at right are associ- ated, some at least in part, with the master. Two of them, the Mona Lisa and The Last Supper, are among the world’s most famous. FERNANDO G. BAPTISTA, MONICA SERRANO, AND EVE CONANT, NGM STAFF; LAWSON PARKER. SOURCES: MARTIN KEMP, MATTHEW LANDRUS, UNIVERSITY OF OXFORD; MARTIN CLAYTON, ROYAL COLLECTION TRUST; PAOLO GALLUZZI, MUSEO GALILEO. CREDIT INFORMATION FOR THE PAINTINGS SHOWN HERE IS AT NGM.COM/MAY 2019. Artistic advancements Expert sfumato His knowledge of eye anatomy brilliantly informed a shading technique, not uti- lized by contemporaries like Botticelli, called sfumato. Blending softens outlines to create a three-dimensional effect. A sense of space A keen observer of nature, Leonardo successfully replicated the effect of atmo- sphere on distant objects. Hazy outlines of the landscape give the impression of distance on a two-dimensional canvas.