Widely accepted Letters document at least two portrait drawings of Isabella d'Este and, in 1501–1506, her requests to execute the promised portrait in colour. The Virgin and Child with Saint Anne and Saint John the BaptistĬharcoal, black and white chalk on tinted paper, mounted on canvasīlack and red chalk, yellow pastel chalk on paper The date is not universally agreed.Ĭonvent of Santa Maria delle Grazie, Milan Some consider it the work of Leonardo's workshop under his direction. Generally accepted Generally accepted as postdating the version in the Louvre, and produced in collaboration with Ambrogio de Predis and perhaps others. Widely accepted Modern scholars still debate the attribution and it is not as widely accepted as other portraits like Ginevra de' Benci, Portrait of a Musician, and Lady with an Ermine. The attribution of Ginevra de' Benci supports the attribution of this painting. Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. ![]() Some scholars suggest the body to be the work of his pupils, Giovanni Antonio Boltraffio and Giovanni Ambrogio de Predis Widely accepted Widely accepted that Leonardo painted the figure's face. Widely accepted Martin Kemp claims that the National Gallery, London, exhibited the Madonna Litta on loan from the Hermitage as an autograph work, even though the gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio. Universally accepted Forensic and scientific analysis by Maurizio Seracini now proves that at least two layers of varnish, mainly in the lower half of the painting, were applied in the 18th–19th centuries. The attribution of Lady with an Ermine supports the attribution of this painting. National Gallery of Art, Washington, D.C. Widely accepted as by Verrocchio and Leonardo Painted mainly by Andrea del Verrocchio Leonardo's contributions include angel on the left-hand side, some of the background landscape and the torso of Christ. Widely accepted Generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist. Attribution proposed by Liphart accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others. It is now almost universally attributed to Leonardo. Traditionally attributed to Verrocchio until 1869. Widely accepted Generally thought to be the earliest extant work by Leonardo. There are numerous other works with disputed attributions to Leonardo, none of which have yet to achieve thorough scholarly approval.Īccepted by large majority of modern scholars controversial in the pastĪccepted by most modern scholars still controversial In addition to his paintings, there are eleven surviving manuscripts of Leonardo da Vinci's notes and drawings, amounting to thousands of pages in total. It is thought that he created many more works that are now lost, though records and copies have survived for some. The small number of surviving paintings is due in part to Leonardo's habit of disastrous experimentation with new techniques and his chronic procrastination, resulting in many incomplete works. Some prominent specialists believe it is by another artist or that Leonardo assisted a member of his studio other prominent specialists do believe that it is mostly by Leonardo. Salvator Mundi 's attribution remains extremely controversial, and the extent of the restoration by the contemporary discoverers of the work, and the fact that the current owner has withdrawn it from any contact with the outside world, has only amplified this situation. La Scapigliata appears to be attributed by most scholars, but some prominent specialists are silent on the issue. ![]() Ten additional works are now widely attributed to his oeuvre, though most have previously incited considerable controversy or doubt: the Annunciation, Madonna of the Carnation, The Baptism of Christ (with his teacher, Verrocchio), Ginevra de' Benci, the Benois Madonna, the Portrait of a Musician (with possible studio assistance), the Lady with an Ermine, La Belle Ferronnière, the London Virgin of the Rocks (with studio assistance), the Portrait of Isabella d'Este and Saint John the Baptist. Only around eight major works- The Adoration of the Magi, Saint Jerome in the Wilderness, the Louvre Virgin of the Rocks, The Last Supper, the ceiling of the Sala delle Asse, The Virgin and Child with Saint Anne and Saint John the Baptist, The Virgin and Child with Saint Anne and the Mona Lisa-are universally attributed to him, and have aroused little or no controversy in the past. The Italian polymath Leonardo da Vinci (1452–1519) was the founding figure of the High Renaissance, and exhibited enormous influence on subsequent artists. (From left to right) The Virgin and Child with Saint Anne, Saint John the Baptist and Louvre Virgin of the Rocks
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