Leonardo da Vinci

Leonardo
Self-portrait in red chalk, circa 1512 to 1515. Royal Library of Turin
Birth name	Leonardo di Ser Piero
Born	15 April 1452 Vinci, Florence, Italy
Died	2 May 1519 Amboise, Touraine, France
Nationality	Italian
Field	Many and diverse fields of arts] and sciences
Movement	High Renaissance
Works	Mona Lisa, The Last Supper, The Vitruvian Man

Leonardo da Vinci (15 April, 1452 - 2 May, 1519), Florence, Italy me paeda bhaes rahaa. Uu ek Italian chitrkaar, sculptor, builder, inventor aur engineer rahaa.

Mona Lisa

Leonardo's ke sabse jaana maana chapa me rahaa The Last Supper aur Mona Lisa rahaa.

Leonardo da Vinci ek nawaa rakam se chapa ke paint kare ke rakam ke suruu karis rahaa. Jab ki uu time ke artist logan ujjar background pe paint karat rahin, da Vinci dark background kaam me lawat rahaa. Isse chapa me three-dimensional effect awat rahaa. Uu aapan chapa ke dark style ke banawat rahaa jisme dher parchhaen rahat rahaa.

Jindagi

jawani, 1452–1466

Leonardo ke janam 15 April 1452, ke Tuscan ke town Vinci, Arno Naddi ke lower valley, territory of Florence me bhaes rahaa.

da Vinci ke kaam ke suchi

Image (sort by size)	Details (sort by earliest likely date)	Attribution status	Location (sort by country)
Template:Number table sorting/positive	Template:Number table sorting/positive The Annunciation Oil on panel 98 × 217 cm Dating c. 1473–4 (Kemp 2011) c. 1472–6 (Syson 2011)	Template:Number table sorting/positive Almost universally accepted Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.	&Italy, Florence Uffizi Florence
Template:Number table sorting/positive	Template:Number table sorting/positive The Baptism of Christ Oil on wood 177 × 151 cm Dating c. 1476 (Kemp 2011)	Template:Number table sorting/positive Verrocchio and Leonardo Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.	&Italy, Florence Uffizi Florence
Template:Number table sorting/positive	Template:Number table sorting/positive Madonna of the Carnation Oil on panel 62 × 47.5 cm Dating c. 1475–6 (Kemp 2011) c. 1477–8 (Syson 2011)	Template:Number table sorting/positive Generally accepted It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.	&Germany Alte Pinakothek Munich
Template:Number table sorting/positive	Template:Number table sorting/positive Ginevra de' Benci Oil on wood 38.8 × 36.7 cm, 15.3 × 14.4 in Dating c. 1476–8 (Kemp 2011) c. 1474/8 (Syson 2011)	Template:Number table sorting/positive Generally accepted The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.	&United States National Gallery of Art Washington, D.C.
Template:Number table sorting/positive	Template:Number table sorting/positive Benois Madonna Oil on canvas 49.5 × 33 cm Dating c. 1479–80 (Kemp 2011) c. 1481 onwards (Syson 2011)	Template:Number table sorting/positive Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.	&Russia Hermitage Museum Saint Petersburg
Template:Number table sorting/positive	Template:Number table sorting/positive The Adoration of the Magi Underpainting on panel 240 × 250 cm, 96 × 97 in Dating c. 1479–81 (Kemp 2011) c. 1480–2 (Syson 2011)	Template:Number table sorting/positive Universally accepted	&Italy, Florence Uffizi Florence
Template:Number table sorting/positive	Template:Number table sorting/positive St. Jerome in the Wilderness Tempera and oil on panel 103 × 75 cm, 41 × 30 in Dating c. 1480–2 (Kemp 2011) c. 1488–90 (Syson 2011)	Template:Number table sorting/positive Universally accepted	&Vatican City Vatican Museums
Template:Number table sorting/positive	Template:Number table sorting/positive Madonna Litta Oil on canvas (transferred from panel) 42 × 33 cm Dating c. 1481–97 (Kemp 2011) c. 1491–5 (Syson 2011)	Template:Number table sorting/positive Generally accepted Thought to be by the hand of Leonardo and a pupil, Marco d'Oggiono	&Russia Hermitage Museum Saint Petersburg
Template:Number table sorting/positive	Template:Number table sorting/positive Virgin of the Rocks Oil on panel (transferred to canvas) 199 × 122 cm, 78.3 × 48.0 in Dating 1483–c. 1490 (Kemp 2011) 1483–c. 1485 (Syson 2011)	Template:Number table sorting/positive Universally accepted Considered by most historians to be the earlier of two versions	&France Louvre Paris
Template:Number table sorting/positive	Template:Number table sorting/positive Portrait of a Musician Oil on wood panel 45 × 32 cm Dating c. 1485 (Kemp 2011) c. 1486–7 (Syson 2011)	Template:Number table sorting/positive Generally accepted	&Italy, Milan Pinacoteca Ambrosiana Milan
Template:Number table sorting/positive	Template:Number table sorting/positive Lady with an Ermine Oil on wood panel 54 × 39 cm Dating c. 1490 (Kemp 2011) c. 1489–90 (Syson 2011)	Template:Number table sorting/positive Generally accepted This painting has been subject to continued disagreement since it was first published as a Leonardo in 1889. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting. The subject has been identified as Cecilia Gallerani.	&Poland Czartoryski Museum Kraków
Template:Number table sorting/positive	Template:Number table sorting/positive Virgin of the Rocks Oil on panel 189.5 × 120 cm, 74.6 × 47.25 in Dating c. 1495–1508 (Kemp 2011) c. 1491/2–9 and 1506–8 (Syson 2011)	Template:Number table sorting/positive Almost universally accepted Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others. Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.	&United Kingdom National Gallery London
Template:Number table sorting/positive	Template:Number table sorting/positive The Last Supper tempera on gesso, pitch and mastic 460 × 880 cm, 181 × 346 in Dating c. 1495–8 (Kemp 2011) 1492–7/8 (Syson 2011)	Template:Number table sorting/positive Universally accepted	&Italy, Milan Convent of Santa Maria delle Grazie Milan
Template:Number table sorting/positive	Template:Number table sorting/positive La belle ferronnière Oil on wood 62 × 44 cm Dating c. 1496–7 (Kemp 2011) c. 1493–4 (Syson 2011)	Template:Number table sorting/positive Generally accepted	&France Louvre Paris
Template:Number table sorting/positive	Template:Number table sorting/positive Sala delle Asse decoration Fresco Dating c. 1498–9 (Kemp 2011) c. 1498 (Syson 2011)	Template:Number table sorting/positive	&Italy, Milan Castello Sforzesco Milan
Template:Number table sorting/positive	Template:Number table sorting/positive The Virgin and Child with St Anne and St John the Baptist Charcoal, black and white chalk on tinted paper 142 × 105 cm, 55.7 × 41.2 in Dating c. 1499–1500 (Syson 2011) c. 1506–8 (Chapman 2010)	Template:Number table sorting/positive Universally accepted	&United Kingdom National Gallery London
Template:Number table sorting/positive	Template:Number table sorting/positive Portrait of Isabella d'Este Black and red chalk, yellow pastel chalk on paper 63 × 46 cm Dating c. 1499–1500 (Syson 2011)	Template:Number table sorting/positive Universally accepted	&France Louvre Paris
Template:Number table sorting/positive	Template:Number table sorting/positive Salvator Mundi Oil on panel 45.4 cm × 65.6 cm, 25.8 in × 17.9 in Dating c. 1504–7 (Kemp 2011) c. 1499 onwards (Syson 2011)	Template:Number table sorting/positive Generally accepted Discovered to be Leonardo's lost painting, rather than a later copy, during restoration in the 2000s. Pentimenti (changes to the composition which would only be found in an original work, rather than a copy) were found in the thumb of Christ's right hand and elsewhere.	Private collection New York City &United States of America
Template:Number table sorting/positive	Template:Number table sorting/positive The Virgin and Child with St. Anne Oil on panel 168 × 112 cm, 66.1 × 44.1 in Dating c. 1508–17 (Kemp 2011) c. 1501 onwards (Syson 2011)	Template:Number table sorting/positive Universally accepted	&France Louvre Paris
Template:Number table sorting/positive	Template:Number table sorting/positive Mona Lisa or La Gioconda Oil on cottonwood 76.8 × 53.0 cm, 30.2 × 20.9 in Dating c. 1503–16 (Kemp 2011) c. 1502 onwards (Syson 2011)	Template:Number table sorting/positive Universally accepted	&France Louvre Paris
Template:Number table sorting/positive	Template:Number table sorting/positive Female Head or La Scapigliata c. 1508 Earth, amber and white lead on panel 24.7 ×21 cm	Template:Number table sorting/positive Universally accepted	&Italy Galleria Nazionale Parma
Template:Number table sorting/positive	Template:Number table sorting/positive St. John the Baptist Oil on walnut wood 69 × 57 cm, 27.2 × 22.4 in Dating c. 1508–16 (Kemp 2011)	Template:Number table sorting/positive Generally accepted "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.	&France Louvre Paris

Chapa ke gallery

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  Leonardo's childhood home in Anchiano

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  Leonardo's earliest known drawing, the Arno Valley, (1473)

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  The Baptism of Christ (1472–1475)

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  The Adoration of the Magi