Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Ginevra de' Benci supports the attribution of this painting. [11]

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I 2 (Milan, c. 1487–1490): Discusses hydraulic engineering, the moving and raising of water and perpetual motion. III (Milan, c. 1490–1493): Notes on geometry, weights and hydraulics interspersed with sketches of horses' legs, what might be designs for ball costumes and a description of the anatomy of the human head. II 1 (Milan, c. 1495): Notes on the theory of proportions and other miscellaneous material. II 2 (Milan, 1495–1497): Notes on the theory of weights, traction, stresses and balances. I 1 (Florence, 1505): Notes on the measurement of solid bodies and on topology. [43] Saplakoglu, Yasemin (4 May 2019). "A Portrait of Leonardo da Vinci May Reveal Why He Never Finished the Mona Lisa". Live Science . Retrieved 5 May 2019. Solari, Ernesto (2016). Leonardo da Vinci: Horse and rider: il "monumento" a Charles d'Amboise. Leonardo, da Vinci, 1452–1519,, Palazzo delle Stelline (Prima edizioneed.). Paderno Dugnano (Mi). ISBN 9788897206330. OCLC 962823523. {{ cite book}}: CS1 maint: location missing publisher ( link)Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a type of armoured fighting vehicle, concentrated solar power, an adding machine, and the double hull. Relatively few of his designs were constructed or even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, such as an automated bobbin winder and a machine for testing the tensile strength of wire, entered the world of manufacturing unheralded. A number of Leonardo's most practical inventions are nowadays displayed as working models at the Museum of Vinci. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, but he did not publish his findings and they had no direct influence on later science. a b McMahon, Barbara (1 May 2005). "Da Vinci 'paralysis left Mona Lisa unfinished' ". The Guardian . Retrieved 2 May 2019. Other attributions are more complicated. La Scapigliata appears to be attributed by most scholars, but some prominent specialists are silent on the issue. Salvator Mundi 's attribution remains extremely controversial, though it can be attributed somewhat securely in part to Leonardo, as the dispute primarily centers around whether Leonardo created the majority of the work, or merely assisted a member of his studio. The small number of surviving paintings is due in part to Leonardo's frequently disastrous experimentation with new techniques and his chronic procrastination, resulting in many incomplete works. Additionally, it is thought that Leonardo created many more works that are now lost, though records and copies have survived for some. Leonardo maintained long-lasting relationships with two pupils who were apprenticed to him as children. These were Gian Giacomo Caprotti da Oreno, who entered his household in 1490 at the age of 10, [16] [17] and Count Francesco Melzi, the son of a Milanese aristocrat who was apprenticed to Leonardo by his father in 1506, at the age of 14, remaining with him until his death.

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Descriptions and portraits of Leonardo combine to create an image of a man who was tall for his time and place, athletic and extremely handsome. He was 5ft 8 inches/1.73 metres, based on the length of his purported skeleton. [59] However, the remains, which were attributed to Leonardo due to the unusually large skull and accompanying stone fragments inscribed "EO [...] DUS VINC", have not yet been positively identified. [60] Portraits indicate that as an older man, he wore his hair long, at a time when most men wore it cropped short, or reaching to the shoulders. While most men were shaven or wore close-cropped beards, Leonardo's beard flowed over his chest. It has been written that Leonardo "may be the most universally recognized left-handed artist of all time", a fact documented by numerous Renaissance authors, and manifested conspicuously in his drawing and handwriting. In his notebooks, he wrote in mirror script because of his left-handedness (it was easier for him), and he was falsely accused of trying to protect his work. [69] Leonardo also wrote of using a mirror to judge his compositions more objectively. [70] Early Italian connoisseurs were divided as to whether Leonardo also drew with his right hand. More recently, Anglo-American art historians have for the most part discounted suggestions of ambidexterity. [71] See also [ edit ] Vezzosi, Alessandro (1997) [1996]. Leonardo da Vinci: Renaissance Man. ‘ New Horizons’ series. Translated by Bonfante-Warren, Alexandra. London: Thames & Hudson. ISBN 978-0-500-30081-7. The diversity of Leonardo's interests, remarked on by Vasari as apparent in his early childhood, was to express itself in his journals which record his scientific observations of nature, his meticulous dissection of corpses to understand anatomy, his experiments with machines for flying, for generating power from water and for besieging cities, his studies of geometry and his architectural plans, as well as personal memos and creative writing including fables.

Knapton, Sarah (May 5, 2016). "Leonardo da Vinci Paintings Analysed for DNA to Solve Grave Mystery". The Telegraph. Archived from the original on February 6, 2017 . Retrieved May 23, 2021. He spent a notable amount of time with his pupils Francesco Melzi and Salaì, particularly later in life. [43] Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505 – 1513? Oil on canvas (transferred from panel), 66cm ×47.3cm (26.0in ×18.6in), Hermitage, Saint Petersburg. [66] Da Vinci, Leonardo (1971). Taylor, Pamela (ed.). The Notebooks of Leonardo da Vinci. New American Library. Paris Manuscript B". Universal Leonardo. University of the Arts, London . Retrieved 3 November 2012.

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Workshop of Leonardo da Vinci? Saint John the Baptist, c. 1508 – 1513? Oil on panel, 75cm ×53.4cm (29.5in ×21.0in), Ashmolean Museum, Oxford. [68] In 1506, Leonardo was summoned to Milan by Charles II d'Amboise, the acting French governor of the city. [69] There, Leonardo took on another pupil, Count Francesco Melzi, the son of a Lombard aristocrat, who is considered to have been his favourite student. [36] The Council of Florence wished Leonardo to return promptly to finish The Battle of Anghiari, but he was given leave at the behest of Louis XII, who considered commissioning the artist to make some portraits. [69] Leonardo may have commenced a project for an equestrian figure of d'Amboise; [70] a wax model survives and, if genuine, is the only extant example of Leonardo's sculpture. Leonardo was otherwise free to pursue his scientific interests. [69] Many of Leonardo's most prominent pupils either knew or worked with him in Milan, [36] including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. In 1507, Leonardo was in Florence sorting out a dispute with his brothers over the estate of his father, who had died in 1504. Pedretti, Carlo (10 July 1985). "Wax model of Horse and Rider". Letter to Mr. Paul J. Wagner. Archived from the original on 8 October 2014.Leonardo da Vinci Painting Discovered" (PDF). Stacy Bolton Communications. 2011. Archived from the original (PDF) on 25 April 2012 . Retrieved 17 June 2019. His patrons included the Medici, Ludovico Sforza and Cesare Borgia, in whose service he spent the years 1502 and 1503, and King Francis I of France.

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Universally accepted [5] 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. [6] Masters, Roger (1998). Fortune is a River: Leonardo Da Vinci and Niccolò Machiavelli's Magnificent Dream to Change the Course of Florentine History. Simon & Schuster. ISBN 978-0-452-28090-8. Melzi subsequently played an important role as the guardian of Leonardo's notebooks, preparing them for publication in the form directed by the master. He was not to see this project fully realized, but gathered the Codex Urbinas. Full, and somewhat different, translation under the heading Drafts of Letters to Lodovico il Moro (1340-1345). 1340. in The Notebooks of Leonardo Da Vinci, volume 2, translated by Jean Paul Richter, 1888, https://archive.org/stream/thenotebooksofle04999gut/8ldv210.txtDelieuvin, Vincent, ed. (2012). Saint Anne: Leonardo da Vinci's Ultimate Masterpiece. Milan, Italy: Officina Libraria. ISBN 978-8897737025. At the age of about fourteen Leonardo was apprenticed by his father to the artist Andrea del Verrocchio. Leonardo was eventually to become a paid employee of Verrocchio's studio. During his time there, Leonardo met many of the most important artists to work in Florence in the late fifteenth century including Sandro Botticelli, Domenico Ghirlandaio and Pietro Perugino. Leonardo helped Verrocchio paint The Baptism of Christ, completed around 1475. According to Vasari, Verrocchio, on seeing the beauty of the angel that his young pupil had painted, never painted again. [10] Burial place of Leonardo da Vinci, in the Chapel of Saint-Hubert, Château d'Amboise, France Generally accepted Generally accepted as postdating the version in the Louvre, and produced in collaboration with Ambrogio de Predis and perhaps others. [2] Some consider it the work of Leonardo's workshop under his direction. The date is not universally agreed.