Leonardo da Vinci

Self-Portrait of Leonardo, 1510-1515, sanguine, Turin, Biblioteca Reale, inv. no. 15571.

Who was Leonardo da Vinci?

Leonardo da Vinci, born on April 15, 1452, and passing away on May 2, 1519, was an extraordinary Italian polymath of the High Renaissance. His wide range of talents encompassed painting, drawing, engineering, science, theory, sculpture, and architecture. Although he initially gained fame for his artistic achievements, Leonardo also left behind a remarkable collection of notebooks, filled with drawings and notes on various subjects, such as anatomy, astronomy, botany, cartography, painting, and paleontology. He is widely recognized as a genius who embodied the ideals of Renaissance humanism, and his extensive body of work has had a profound impact on subsequent generations of artists, rivaling that of his contemporary, Michelangelo.

Born to an unmarried notary and a woman from a lower social class in Vinci, Italy, Leonardo received his education in Florence under the guidance of the renowned painter and sculptor, Andrea del Verrocchio. He began his career in Florence but spent a significant amount of time serving Ludovico Sforza in Milan. Leonardo later worked in both Florence and Milan, with a brief stint in Rome, gathering a large following of imitators and students. In his final years, he accepted an invitation from Francis I and resided in France until his death in 1519. Since his passing, Leonardo's remarkable achievements, diverse interests, personal life, and empirical approach have continued to captivate and inspire, making him a prominent figure in cultural discourse.

Leonardo is hailed as one of the greatest painters in art history and is often considered the pioneer of the High Renaissance movement. Despite many of his works being lost and fewer than 25 major pieces being attributed to him, he produced some of the most influential paintings in Western art. The iconic Mona Lisa stands as his magnum opus and is renowned as the world's most famous painting. The Last Supper, his portrayal of the biblical scene, is the most widely reproduced religious painting of all time, while his Vitruvian Man drawing has become a cultural icon. In 2017, Salvator Mundi, a painting partly attributed to Leonardo, was sold for a staggering $450.3 million, setting a record as the most expensive painting ever sold at public auction.

In addition to his artistic genius, Leonardo was revered for his visionary technological ideas. He conceptualized inventions such as flying machines, armored vehicles, concentrated solar power, a calculating machine, and a double hull. Although many of his designs were never realized or were ahead of their time due to limited scientific knowledge in metallurgy and engineering during the Renaissance, some of his smaller inventions quietly found practical use, including an automated bobbin winder and a machine for testing wire strength. Leonardo made significant discoveries in various fields such as anatomy, civil engineering, hydrodynamics, geology, optics, and tribology.

Leonardo da Vinci, Salvator Mundi, 1505-1515 circa. olio su tavola, 65,6×45,4 cm. Collezione privata.

Early life (1452–1472)

Leonardo da Vinci, whose full name was Leonardo di ser Piero da Vinci, was born on April 15, 1452, in or near the town of Vinci, approximately 20 miles from Florence in Tuscany, Italy. He was the illegitimate son of Piero da Vinci, a Florentine notary, and Caterina di Meo Lippi, who belonged to the lower class. The exact location of Leonardo's birth is uncertain, with different accounts suggesting either Anchiano, a secluded hamlet suitable for a discreet birth, or a house in Florence where his father likely resided. Following Leonardo's birth, his parents each married different individuals in the subsequent year. Caterina, often referred to as Caterina Buti del Vacca, married a local artisan named Antonio di Piero Buti del Vacca.

Leonardo's childhood remains largely unknown, and much of what is known is based on uncertain information and legends, partly due to Giorgio Vasari's biography, which contains both factual and fictional elements. Tax records indicate that by 1457, Leonardo lived in the household of his paternal grandfather, Antonio da Vinci, but it is possible that he spent his early years under the care of his mother in Vinci, specifically Anchiano or Campo Zeppi. It is believed that Leonardo had a close relationship with his uncle, Francesco da Vinci, while his father resided mostly in Florence. Ser Piero, who came from a line of notaries, established an official residence in Florence by 1469 and enjoyed a successful career. Leonardo received a basic and informal education in reading, writing, and mathematics, as his artistic talents were recognized early on, and his family chose to focus on developing his artistic skills.

In his later life, Leonardo documented his earliest memory in the Codex Atlanticus. While discussing bird flight, he recalled an incident from his infancy when a kite approached his cradle and opened his mouth with its tail. The authenticity of this memory is still debated among scholars, as it is uncertain whether it was an actual recollection or a figment of Leonardo's imagination.

Leonardo da Vinci, Virgin of the Rocks, 1483–1486. Oil on panel (transferred to canvas), 199 cm × 122 cm. Paris: Louvre Museum.

Verrocchio's workshop

During the mid-1460s, Leonardo's family relocated to Florence, which was a hub of Christian Humanist culture and intellectual thought at that time. Around the age of 14, Leonardo became a garzone, or studio boy, in the workshop of Andrea del Verrocchio, a renowned painter and sculptor in Florence. Verrocchio was the leading artist of his time, following in the footsteps of the great sculptor Donatello, who had recently passed away. Leonardo began his apprenticeship at the age of 17 and trained under Verrocchio for seven years. Notable artists such as Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi also apprenticed or were associated with Verrocchio's workshop.

Leonardo received comprehensive training that encompassed both theoretical knowledge and a wide range of technical skills. He learned drafting, chemistry, metallurgy, metalworking, plaster casting, leatherworking, mechanics, and woodworking. Additionally, he honed his artistic abilities in drawing, painting, sculpting, and modeling. Leonardo's contemporaries in Florence included artists like Botticelli, Ghirlandaio, and Perugino, who were slightly older than him. They likely crossed paths at Verrocchio's workshop or the Platonic Academy of the Medici. Florence was adorned with the works of influential artists such as Masaccio, known for his realistic and emotive frescoes, and Ghiberti, renowned for his Gates of Paradise adorned with gold leaf, which showcased intricate figure compositions against detailed architectural backdrops. Piero della Francesca's in-depth study of perspective and the scientific examination of light by Leon Battista Alberti also greatly influenced Leonardo and his own artistic observations and creations.

Much of the painting produced in Verrocchio's workshop was carried out by his assistants. According to Vasari, Leonardo collaborated with Verrocchio on the painting "The Baptism of Christ," specifically contributing to the depiction of the young angel holding Jesus' robe. Leonardo's execution of this figure was considered far superior to his master's, leading to the apocryphal story that Verrocchio was so impressed that he abandoned painting altogether. Closer inspection of the artwork reveals areas painted or touched up with oil paint, a new technique at the time, including the landscape, the rocks in the brown mountain stream, and parts of the figure of Jesus, demonstrating Leonardo's distinct touch. It is speculated that Leonardo may have served as a model for two works by Verrocchio: the bronze statue of David in the Bargello and the Archangel Raphael in "Tobias and the Angel."

Vasari also recounts a tale from Leonardo's youth: a local peasant requested that Leonardo's father, Ser Piero, have a round shield painted for him. Inspired by the myth of Medusa, Leonardo created a terrifying painting of a monster spewing fire. The image was so frightening that Ser Piero decided to purchase a different shield for the peasant and sold Leonardo's artwork to a Florentine art dealer for 100 ducats. Subsequently, the art dealer sold it to the Duke of Milan.

Leonardo da Vinci, Saint John the Baptist, 1513–1516. Oil on walnut wood, 69 cm × 57 cm. Louvre Abu Dhabi, Abu Dhabi.

Florence

By 1472, when Leonardo was 20 years old, he attained the status of a master in the Guild of Saint Luke, an esteemed guild encompassing artists and medical practitioners. Despite his father setting up his own workshop for him, Leonardo's close bond with Verrocchio was such that he continued to collaborate and reside with him. The earliest known work by Leonardo, dated 1473, is a pen-and-ink drawing of the Arno valley. According to Vasari, Leonardo was the first to propose the idea of making the Arno River navigable between Florence and Pisa.

In January 1478, Leonardo received an independent commission to paint an altarpiece for the Chapel of Saint Bernard in the Palazzo Vecchio, which indicated his growing independence from Verrocchio's studio. An anonymous early biographer known as Anonimo Gaddiano stated that in 1480, Leonardo lived with the Medici and frequented the garden of the Piazza San Marco in Florence. The Medici organized a Neoplatonic academy there, bringing together artists, poets, and philosophers. In March 1481, Leonardo received another commission from the monks of San Donato in Scopeto for "The Adoration of the Magi." However, neither of these initial commissions was completed, as Leonardo abandoned them when he offered his services to Ludovico Sforza, the Duke of Milan. In a letter to Sforza, Leonardo described his diverse capabilities in engineering, weapon design, and painting. He also brought with him a silver string instrument in the shape of a horse's head, possibly a lute or lyre.

Accompanied by Alberti, Leonardo visited the residence of the Medici family, where he had the opportunity to acquaint himself with prominent Humanist philosophers. Among them were Marsiglio Ficino, known for his advocacy of Neoplatonism; Cristoforo Landino, a writer renowned for his commentaries on classical texts; and John Argyropoulos, a respected Greek teacher and translator of Aristotle. These thinkers were closely associated with the Platonic Academy of the Medici. Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola, was also part of this intellectual circle.

In 1482, Lorenzo de' Medici entrusted Leonardo with a diplomatic mission, appointing him as an ambassador to Ludovico il Moro, the ruler of Milan from 1479 to 1499.

Milan (c. 1482–1499)

From 1482 to 1499, Leonardo resided in Milan, where he engaged in various artistic endeavors. He received prestigious commissions such as painting the Virgin of the Rocks for the Confraternity of the Immaculate Conception and creating The Last Supper for the monastery of Santa Maria delle Grazie. In 1485, he embarked on a journey to Hungary on behalf of Sforza, the Duke of Milan, to meet King Matthias Corvinus, who commissioned Leonardo to paint a Madonna.

In 1490, Leonardo was called upon as a consultant, alongside Francesco di Giorgio Martini, for the construction of the cathedral in Pavia. During this time, he was captivated by the equestrian statue of Regisole and made a sketch of it. Leonardo also undertook numerous projects for Sforza, including designing floats and pageants for special occasions, creating a drawing and wooden model for a competition to design the cupola of Milan Cathedral, and developing plans and a model for a colossal equestrian monument to honor Ludovico's predecessor, Francesco Sforza. This monument, known as the Gran Cavallo, would have surpassed the size of any other equestrian statues of the Renaissance, such as Donatello's Gattamelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice. Unfortunately, the metal intended for casting the statue was repurposed for a cannon to defend Milan from Charles VIII of France in November 1494.

Leonardo da Vinci, The Virgin and Child with Saint Anne, c. 1501–1519. Oil on wood, 130 cm × 168.4 cm. Louvre, Paris.

Florence again

After the overthrow of Ludovico Sforza by the French in 1500, Leonardo left Milan and sought refuge in Venice along with his assistant Salaì and mathematician friend Luca Pacioli. In Venice, he utilized his expertise as a military architect and engineer to develop defensive strategies against naval attacks. Upon his return to Florence in 1500, Leonardo and his entourage were welcomed by the Servite monks at the monastery of Santissima Annunziata, where he was provided with a workshop. It was during this time that Leonardo created the celebrated artwork known as The Virgin and Child with Saint Anne and Saint John the Baptist, which attracted large crowds eager to view the masterpiece.

In 1502, Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, as a military architect and engineer. He traveled extensively with Borgia throughout Italy, undertaking various projects on his behalf. Leonardo produced detailed maps of Cesare Borgia's stronghold and the town of Imola, impressing his patron and securing his position as the chief military engineer and architect. He also created a map of the Chiana Valley in Tuscany to provide strategic insight for Borgia. In addition to these endeavors, Leonardo worked on the design and construction of a dam to supply water to Florence throughout the year.

By early 1503, Leonardo had concluded his service with Borgia and returned to Florence. He reestablished his affiliation with the Guild of Saint Luke and commenced work on the portrait of Lisa del Giocondo, famously known as the Mona Lisa, a project that occupied him for many years. In January 1504, he was part of a committee tasked with determining the placement of Michelangelo's statue of David. Subsequently, Leonardo dedicated two years to designing and painting The Battle of Anghiari, a mural commissioned by the Signoria of Florence. During this period, he collaborated with Michelangelo, who was concurrently working on The Battle of Cascina.

In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. There, he took Count Francesco Melzi as his pupil, and the two developed a close bond. While the Council of Florence desired Leonardo's prompt return to complete The Battle of Anghiari, he was granted leave at the request of Louis XII, who considered commissioning portraits from the esteemed artist. Leonardo may have also embarked on a project for an equestrian figure of d'Amboise, with a surviving wax model serving as the only remaining example of his sculpture. Leonardo had the freedom to pursue his scientific interests in Milan, where he influenced many prominent pupils, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo traveled to Florence to settle a dispute with his brothers over their father's estate, as his father had passed away in 1504.

Milan (1508–1513)

In 1508, Leonardo returned to Milan and took up residence in his own house located in Porta Orientale, within the Santa Babila parish.

In 1512, Leonardo was engrossed in designing a grand equestrian monument for Gian Giacomo Trivulzio. However, his plans were thwarted by an invasion launched by a coalition of Swiss, Spanish, and Venetian forces, which expelled the French from Milan. Despite the upheaval, Leonardo chose to remain in the city. He spent a significant portion of 1513 at the Vaprio d'Adda villa owned by the Medici family.

Leonardo da Vinci, Portrait of Ginevra de' Benci, between 1474 and 1478. Tempera and oil on panel, 38.8×36.7 cm. National Gallery of Art, Washington.

From Rome to France

In March 1513, Giovanni de' Medici assumed the papacy as Pope Leo X, and Leonardo traveled to Rome in September of the same year. He was warmly received by Giuliano, the pope's brother. For the next three years, from 1513 to 1516, Leonardo resided in the Belvedere Courtyard of the Apostolic Palace in Rome, alongside renowned artists Michelangelo and Raphael.

During this time, Leonardo received a monthly allowance of 33 ducats and engaged in various activities. According to Vasari, he decorated a lizard by applying quicksilver-dipped scales. The pope initially commissioned him to paint a work of unknown subject matter, but when Leonardo began experimenting with a new type of varnish, the commission was canceled. It was around this period that Leonardo's health started to decline, possibly due to the first of several strokes he would experience before his death.

While in Rome, Leonardo worked on botanical studies in the Vatican Gardens and was tasked with creating plans for the pope's proposed drainage of the Pontine Marshes. He also conducted dissections of cadavers, particularly focusing on vocal cords for a treatise. Leonardo hoped to regain the pope's favor by presenting these notes to a Vatican official, but his efforts proved unsuccessful.

In October 1515, King Francis I of France recaptured Milan, and Leonardo was present at the meeting between Francis I and Pope Leo X in December 1515 in Bologna. In 1516, Leonardo entered the service of King Francis I and was provided with the manor house Clos Lucé near the royal Château d'Amboise. The king frequently visited Leonardo, and the artist contributed to various projects, including designing plans for a grand castle town at Romorantin. Leonardo also created a mechanical lion that, during a pageant, walked towards the king and revealed a cluster of lilies when struck by a wand.

During his time at Clos Lucé, Leonardo was accompanied by his friend and apprentice Francesco Melzi, and he received a pension of 10,000 scudi. It was during this period that Melzi created a portrait of Leonardo. Other known portraits from Leonardo's lifetime include a sketch by an unknown assistant on the back of one of his studies and a drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm wrapped in clothing. The latter confirms accounts of Leonardo's right hand being paralyzed when he was 65 years old, which may explain why some of his works, like the Mona Lisa, were left unfinished. Despite his declining health, Leonardo continued to work in some capacity until he became seriously ill and bedridden for several months.

The end of days

Leonardo passed away on 2 May 1519 at Clos Lucé, at the age of 67, possibly due to a stroke. He had developed a close friendship with Francis I. According to Vasari, Leonardo expressed regret on his deathbed, feeling remorse for not fully dedicating himself to his art as he should have. In his final days, Leonardo requested a priest for confession and to receive the Holy Sacrament. It is also mentioned that the king held Leonardo's head as he passed away, although this account may be more of a legend than a factual occurrence. Following Leonardo's will, sixty beggars carrying candles followed his casket.

Melzi, his principal heir and executor, inherited Leonardo's paintings, tools, library, and personal belongings along with monetary assets. Salaì, Leonardo's longtime pupil and companion, and Baptista de Vilanis, his servant, each received half of Leonardo's vineyards. His brothers received land, and his serving woman was given a fur-lined cloak. On 12 August 1519, Leonardo's remains were laid to rest in the Collegiate Church of Saint Florentin at the Château d'Amboise.

Salaì, also known as Il Salaino (meaning "The Little Unclean One" or "The Devil"), joined Leonardo's household as an assistant in 1490. Despite his frequent misbehavior, including theft and excessive spending, Leonardo showed great indulgence towards him. Salaì remained in Leonardo's household for the next thirty years. He produced several paintings under the name of Andrea Salaì, but his work is generally considered to be of lesser artistic value compared to other pupils of Leonardo, such as Marco d'Oggiono and Boltraffio.

At the time of Leonardo's death in 1524, Salaì owned the Mona Lisa, which was appraised in his will at the remarkable sum of 505 lire, indicating its exceptional value as a small panel portrait. Around 20 years after Leonardo's passing, it was reported by Benvenuto Cellini, a goldsmith and sculptor, that Francis I said, "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture, and architecture, as that he was a very great philosopher."

Leonardo da Vinci, Saint Jerome in the Wilderness, c. 1480–1490. Tempera and oil on walnut panel, 103 cm × 75 cm. Vatican Museums, Rome.

The pictorial work

Despite Leonardo's growing recognition and admiration as a scientist and inventor in recent times, his fame for nearly four centuries primarily stemmed from his achievements as a painter. A small number of artworks that are either confirmed or attributed to him have been hailed as masterpieces of extraordinary caliber. These paintings have gained renown for various qualities that have been extensively studied and emulated by students, as well as analyzed and praised by experts and critics. As early as the 1490s, Leonardo was already revered as a "Divine" painter.

What sets Leonardo's work apart are his groundbreaking painting techniques, his profound understanding of anatomy, light, botany, and geology, his fascination with physiognomy and the depiction of human emotions through expression and gesture, his innovative use of the human form in compositions, and his skillful manipulation of subtle tonal gradations. These distinctive attributes converge in his most renowned paintings, namely the Mona Lisa, the Last Supper, and the Virgin of the Rocks.

Top 5 artwoks

Leonardo da Vinci, Annunciation, c. 1472–1476. Oil and tempera on poplar panel, 98 cm × 217 cm. Florence: Uffizi.

The Annunciation (1472 c.)

The Annunciation is a painting created by Leonardo da Vinci, attributed to him and believed to have been produced between approximately 1472 and 1475. It is an oil and tempera artwork on wood, measuring 98×217 cm, and it is currently housed in the Uffizi Gallery in Florence.

Discovered in 1867 within the small church of San Bartolomeo a Monte Oliveto in Florence, the painting depicts the Archangel Gabriel kneeling before the Virgin Mary in front of a Renaissance palace. Set in a lush enclosed garden reminiscent of the hortus conclusus, symbolizing Mary's purity, Virgin to which Gabriel extends a greeting and offers her a lily. The Virgin, seated with great dignity in front of a lectern holding a book, responds to the angel. Leonardo places this traditional sacred scene within a naturalistic and earthly environment. The angel is portrayed with a tangible physicality, evident in the shadow cast on the grass and the meticulously rendered drapery, which suggests studies from life. Even the wings of the angel are inspired by those of powerful birds of prey. The painting exhibits an extraordinary rendition of the twilight light that molds the shapes, unifies the scene, and highlights the dark silhouettes of the trees against the distant landscape in the background. This landscape is characterized by the soft tones favored by the artist. The architectural elements follow the rules of perspective, with a central vanishing point, although some anomalies can be observed in the figure of the Virgin. Her right arm appears excessively elongated, possibly reflecting Leonardo's early optical investigations, taking into account the side view vanishing point (from the right) and the lowered perspective determined by the original placement of the painting above a side altar in a church.

The painting was acquired by the Uffizi Gallery in 1867 from the sacristy of the church of San Bartolomeo a Monte Oliveto, located outside Porta San Frediano in Florence. The original location and the client who commissioned the artwork remain unknown. The Annunciation is widely believed to be an early work by Leonardo da Vinci, created during his time in Andrea del Verrocchio's workshop. The design of the lectern, inspired by the sarcophagus of Piero il Gottoso in the church of San Lorenzo in Florence, reflects an innovation by Verrocchio.

Leonardo da Vinci, The Last Supper, c. 1472–1476. Tempera on gesso, pitch, and mastic, 460 cm × 880 cm. Milan: Santa Maria delle Grazie.

The Last Supper (1494-1498)

The Last Supper, also known as the Cenacolo, is a renowned wall fresco created by Leonardo da Vinci. It was executed using a dry mixed technique on plaster and measures 460×880 cm. The artwork is dated between 1494 and 1498 and was commissioned by Ludovico il Moro for the refectory of the convent adjacent to the sanctuary of Santa Maria delle Grazie in Milan.

This painting is widely recognized as one of Leonardo's greatest masterpieces and a significant representation of the Italian Renaissance. However, due to Leonardo's experimental technique, which was incompatible with the humid environment, the artwork has suffered from poor conservation over the centuries. To address this issue, an extensive restoration project took place from 1978 to 1999, making it one of the longest restoration efforts in history. Advanced techniques were employed during this period, and the restoration was financially supported by Olivetti, with costs reaching approximately 7 billion lire.

Since December 2014, the Cenacolo Vinciano Museum has been managed by the Ministry for Cultural Heritage and Activities, through the Lombardy Museum Complex. In December 2019, the Lombardy Museum Complex became the Regional Directorate of Museums, overseeing the management of the museum. The Last Supper attracts a significant number of visitors, and in 2019, it was visited by 445,728 people, ranking it as the fifteenth most visited site in Italy.

The painting of the Last Supper by Leonardo da Vinci is based on the biblical account found in the Gospel of John 13:21, where Jesus reveals that one of his apostles will betray him. While the composition follows the tradition of Last Supper depictions in Florence, Leonardo aimed to convey a deeper and more emotionally resonant interpretation of the religious event, as he had previously done with the Adoration of the Magi. He carefully studied the expressions and reactions of the apostles, capturing their surprise and confusion upon hearing about the impending betrayal.

The scene is set within a perspective box, illuminated by three windows at the back and frontal lighting from the left, which corresponds to the actual window of the refectory. In the foreground, a long dining table is depicted with Christ positioned at the center, forming an almost pyramidal shape with his outstretched arms. His head is bowed, his eyes are half-closed, and his mouth is slightly apart, suggesting that he has just finished uttering the fateful words.

Jesus, in his gesture of resignation, serves as the central axis of the composition. This is evident not only in the architectural lines, such as the flight of dark squares representing tapestries, but also in the gestures and directional lines of the apostles. Every detail is meticulously crafted, and the arrangement of dishes and tableware on the table contributes to the overall balance of the composition.

From a geometric perspective, the environment, although simple, is carefully calibrated. Through the use of basic perspective techniques, such as the squared floor, coffered ceiling, tapestries on the walls, three windows in the background, and the placement of the table, Leonardo creates an illusion of breaking through the wall on which the painting is located. This gives the impression that the scene is part of the actual refectory, resembling a sophisticated trompe l'oeil. The light source enters from the left, as indicated by the illuminated windows on that side. Additionally, the ethereal light emanating from the background lends Christ a supernatural isolation and creates a backlight effect.

According to recent studies, the landscape visible through the windows could represent a specific location within the upper Lario region.

Leonardo da Vinci, Mona Lisa, c. 1503–1506. Oil on poplar panel, 77 cm × 53 cm. Paris: Louvre Museum.

Mona Lisa (c. 1503–1506)

The Mona Lisa, also known as La Gioconda, is a painting created by Leonardo da Vinci. It is an oil painting on a poplar panel measuring 77 by 53 centimeters and 13 millimeters thick. The artwork is believed to have been painted between 1503 and 1506 and is currently housed in the Louvre Museum in Paris, identified by catalog number 779.

This painting holds an iconic status and remains one of the most renowned portraits in the history of art. Its subject's subtle and elusive smile, filled with an air of mystery, has captivated audiences and sparked numerous interpretations, critiques, literary works, imaginative creations, and even psychoanalytic studies. The Mona Lisa exudes an allure that is at once enigmatic, ironic, and sensual, evoking both adoration and controversy.

The Mona Lisa receives daily admiration from approximately thirty thousand visitors, accounting for about 80% of the Louvre Museum's total visitors. Such is the painting's popularity that a cord is placed in the room to maintain a safe distance between viewers and the artwork. Throughout its extensive history, the painting has experienced vandalism attempts and a daring theft, which have only added to its allure and fame.

Leonardo da Vinci, Lady with an Ermine, 1489–1491. Oil on walnut panel, 54 cm × 39 cm. Czartoryski Museum, Kraków, Poland.

Lady with an Ermine (1489–1491)

The painting commonly known as "Lady with an Ermine" is a portrait believed to have been created by the renowned Italian Renaissance artist Leonardo da Vinci. Estimated to have been painted between 1489 and 1491, this artwork is executed with oil paints on a walnut wood panel. It depicts Cecilia Gallerani, who was a mistress of Ludovico Sforza, also known as "Il Moro," the Duke of Milan. During the time of its creation, Leonardo served as a court painter for the Sforza family in Milan. This portrait is one of only four surviving paintings of women attributed to Leonardo, the others being Ginevra de' Benci, La Belle Ferronnière, and the Mona Lisa.

Currently, the Lady with an Ermine is housed in the Czartoryski Museum located in Kraków, Poland. It holds significant importance as one of Poland's national treasures. The painting is part of the Princes Czartoryski Collection, which was sold to the Polish government on December 29, 2016, for €100 million. This acquisition was made from the Princes Czartoryski Foundation, represented by Adam Karol Czartoryski, the last direct descendant of Izabela Czartoryska Flemming and Adam George Czartoryski. They had brought the painting to Poland from Italy in 1798.

Leonardo da Vinci, Vitruvian Man, c. 1490. Pen, brown ink and watercolor over metalpoint on paper, 34.4 cm × 24.5 cm. Gallerie dell'Accademia, Venice.

Vitruvian Man (c. 1490)

The Vitruvian Man, known as L'uomo vitruviano in Italian, is a drawing created by the renowned Italian Renaissance artist and scientist Leonardo da Vinci. It is estimated to have been produced around 1490. Inspired by the writings of the ancient Roman architect Vitruvius, this drawing portrays a nude male figure positioned in two overlapping poses, with his arms and legs extended and inscribed within a circle and a square. Regarded by art historian Carmen C. Bambach as an "iconic image of Western civilization," the artwork represents a remarkable fusion of artistic and scientific ideals, often seen as a quintessential representation of the High Renaissance.

Leonardo's drawing presents his concept of ideal body proportions, initially derived from Vitruvius but influenced by his own measurements, the works of his contemporaries, and Leon Battista Alberti's treatise De pictura. The Vitruvian Man was created by Leonardo in Milan, and it is believed to have been passed down to his student Francesco Melzi. Subsequently, it came into the possession of Venanzio de Pagave, who persuaded the engraver Carlo Giuseppe Gerli to include it in a book featuring Leonardo's drawings. This publication significantly disseminated the image, which was relatively unknown until then. Later, it was acquired by Giuseppe Bossi, who conducted early scholarly research on the drawing. In 1822, it was sold to the Gallerie dell'Accademia, where it has been housed ever since. Due to its sensitivity to light, the drawing is rarely displayed publicly. However, it was loaned to the Louvre in 2019 for an exhibition commemorating the 500th anniversary of Leonardo's death.