Leonardo da Vinci

Leonardo da Vinci, Madonna of the Carnation, (1473-1478)

Leonardo da Vinci, The Last Supper, (1495-1498)

• linear perspective: all lines in the space converge at the head of Christ

• Christ’s head framed by window (almost like a halo)

• figures divided into 4 group of 3 with Jesus on his own

• marks who Judas is by having him in shadow and holding a bag of coins

• this is the moment Jesus says one will betray him, so Judas is reacting differently than everyone else

Leonardo da Vinci, Battle of Anghiari, (1503)

Leonardo da Vinci, Leda and the Swan, (1503-1510)

• represents mythological story of Leda

• revolutionary for L’s twisting of the female nude

• Leonardo’s example of feminine grace

• mirrored curvy lines in Leda’s and swan’s bodies represent the relationship between them

• inspires Michelangelo’s Leda

Leonardo da Vinci, Virgin and Child with St. Anne (1503-1519)

Leonardo da Vinci, Mona Lisa, (1503-1505)

• shows the height of Florentine fashion (trend was to pluck away eyebrows and hairline, wearing veil and robe over dress with gold embroidery)

• atmospheric perspective puts landscape with river, bridge, hills behind her at a distance

• revolutionary because she’s turned at an angle to make eye contact with the viewer (most portraits at the time are stiff and in complete profile —> viewer doesn’t exist to the person being painted, you can look at her but not engage with her)

  • Leonardo is making a relationship between viewer and sitter

• she’s smiling at viewer, embodies grace and elegance