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for teaching pupils in
Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain
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262:
in Berlin, is a drapery study for the Virgin's garments. These have been attributed to
Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the
287:, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the
267:
rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.
191:) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the
621:
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That the painting was regarded in
Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that
318:
There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of
Leonardo da Vinci, a work of great power and highly finished.
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period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.
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as its composition is reflected in his later works, whereas it is not in those of
Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the
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210:(c. 1480). Metalpoint heightened with white lead on grey prepared paper, 17.9 × 16.8 cm. Louvre, Cabinet des dessins, Codex Vallardi 2376
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draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the
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Leonardo on
Painting: An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career as an artist
1550:
1527:
381:
has remarked that this was "presumably a condition of the loan". Kemp said in 2017 that he regarded the painting as a
Boltraffio.
159:; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the
1630:
179:
might be one of the paintings of the
Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (
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Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the
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could be described either way, and it has therefore been argued that the painting was begun in
Leonardo's first
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highlights on blue prepared paper, are attributed to a follower of
Leonardo, usually considered to be
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Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a
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622:"The National Gallery's blockbuster exhibition could mark a turning point for Leonardo scholars"
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724:; Keith, Larry; Galansino, Arturo; Mazzotta, Antonio; Nethersole, Scott; Rumberg, Per (2011).
352:, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it
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from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the
126:. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier
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acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the
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In 1784, the earliest secure date in its provenance, the painting was bought by Prince
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The painting was repainted by an artist other than Leonardo in Milan around 1495.
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The earliest print of the composition is Venetian, by an artist in the circle of
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in London in 2011–12 the painting was attributed to Leonardo, but art historian
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Works by Leonardo da Vinci and His School in the collection of the Hermitage
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noble family in whose collection it was for much of the nineteenth century.
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A foot in Venetian measurements was 34.7cm, closer to the width of the
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42 cm × 33 cm (17 in × 13 in)
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family, from whom it takes its current name. In 1865 the Russian Tsar
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Giovanni Antonio Boltraffio: Un pittore milanese nel lume di Leonardo
784:
240:
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685:. Biblioteca d'arte. Cinisello Balsamo, Milan: Silvana Editoriale.
683:
Leonardo da Vinci: Art and Devotion in the Madonnas of his Pupils
1222:
The Virgin and Child with Saint Anne and Saint John the Baptist
771:
231:
184:
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Museo Nazionale Scienza e Tecnologia Leonardo da Vinci (Milan)
743:Произведения Леонардо да Винчи и его школы в собрании Эрмитажа
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drawing of a young woman's face in near profile, part of the
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Several drawings have been identified as preparatory to the
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It has been speculated that Leonardo might have taken the
714:
Leonardo da Vinci: The Marvellous Works of Nature and Man
707:. Nota Bene. New Haven and London: Yale University Press.
222:. One, which is universally attributed to Leonardo, is a
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Madonna and Child with the Infant Saint John the Baptist
279:(1490–1500). 13.2 × 10.2 cm. Metropolitan Museum of Art.
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Paintings of the Madonna and Child by Leonardo da Vinci
254:. One, a study for the Christ child's head, is in the
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can be seen beyond. In his left hand Christ holds a
749:] (in Russian). Saint Petersburg: Чистый лист.
234:. There is evidence that this sheet was used as an
306:with him to Venice in March 1500, as the diarist
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726:Leonardo da Vinci: Painter at the Court of Milan
483:. New York: Time-Life Books. pp. 153, 185.
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1164:Designs for an Adoration of the Christ Child
694:. Milano: Jandi Sapi Editori. pp. 81–3.
275:Attributed to Giovanni Antonio Boltraffio,
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531:"Head of a Woman in Profile to Lower Left"
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1178:Head of the Infant Saint John the Baptist
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310:apparently recorded its presence in the
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183:1481–1483 to 1499). On a drawing in the
16:Painting attributed to Leonardo da Vinci
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246:Two other drawings, in metalpoint with
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277:Head of a woman in profile facing left
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208:Head of a young woman in near profile
979:The Virgin and Child with Saint Anne
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120:, a devotional subject known as the
104:is a late 15th-century painting, by
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112:, Saint Petersburg. It depicts the
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716:. Oxford: Oxford University Press.
391:List of works by Leonardo da Vinci
140:, which is symbolic of his future
14:
1667:
1636:Paintings in the Hermitage Museum
1250:Drapery of the Virgin's Right Arm
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535:Heilbrunn Timeline of Art History
283:A further related drawing in the
132:, and a mountainous landscape in
1600:
1599:
1136:Studies of the Fetus in the Womb
1115:The Martyrdom of Saint Sebastian
1101:Study for the Madonna of the Cat
770:
481:The World of Leonardo: 1452–1519
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356:, when it was again repainted.
354:transferred from wood to canvas
1631:Paintings by Leonardo da Vinci
1554:replicas and reinterpretations
1500:Museo Ideale Leonardo da Vinci
1143:Portrait of a Man in Red Chalk
897:Saint Jerome in the Wilderness
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508:, pp. 230–1 (cat. no. 60)
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690:Fiorio, Maria Teresa (2000).
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1543:Conservation-restoration of
1310:Codex on the Flight of Birds
1243:Drapery of the Virgin's Legs
869:The Madonna of the Carnation
537:. Metropolitan Museum of Art
258:in Paris; the other, in the
7:
1469:Giovanni Ambrogio de Predis
1424:Giovanni Antonio Boltraffio
1129:Portrait of Isabella d'Este
728:. London: National Gallery.
384:
252:Giovanni Antonio Boltraffio
153:Giovanni Antonio Boltraffio
10:
1672:
1495:Museo leonardiano di Vinci
1032:The Holy Infants Embracing
741:Kustodieva, T. K. (2016).
681:Brown, David Alan (2003).
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331:Alberico XII di Belgioioso
285:Metropolitan Museum of Art
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1594:✻✻ Possible collaboration
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479:Wallace, Robert (1966).
369:was responsible for the
129:Madonna of the Carnation
39:Disputed attribution to
1321:A Treatise on Painting
1039:The Battle of Anghiari
1000:Saint John the Baptist
919:Portrait of a Musician
832:Science and inventions
320:
314:in that city in 1543:
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215:
68:transferred from panel
1538:Portraits of Leonardo
1213:Child with Saint Anne
861:The Baptism of Christ
712:Kemp, Martin (2006).
316:
274:
205:
1646:Breastfeeding in art
1434:Bernardino de' Conti
934:La Belle Ferronnière
781:at Wikimedia Commons
1579:(Galleria Borghese)
1564:Mathematics and art
1528:Cultural references
1391:Rapid fire crossbow
1381:Self-propelled cart
1155:Virgin of the Rocks
927:Lady with an Ermine
912:Virgin of the Rocks
634:on 15 February 2015
620:(1 February 2012).
595:, p. 224, n. 5
308:Marcantonio Michiel
260:Kupferstichkabinett
206:Leonardo da Vinci,
1344:Divina proportione
1300:Codex Trivulzianus
1264:Head of the Virgin
1257:Head of Saint Anne
281:
256:Fondation Custodia
216:
134:aerial perspective
116:breastfeeding the
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1577:Leda and the Swan
1570:The Lost Leonardo
1386:Octant projection
1356:Harpsichord-viola
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1171:Head of the Angel
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1046:Leda and the Swan
971:Lansdowne Madonna
955:Buccleuch Madonna
876:Ginevra de' Benci
816:Leonardo da Vinci
775:Media related to
756:978-5-90152-850-1
627:The Art Newspaper
593:Syson et al. 2011
581:Syson et al. 2011
569:Syson et al. 2011
518:Syson et al. 2011
506:Syson et al. 2011
494:Syson et al. 2011
462:Syson et al. 2011
149:pupil of Leonardo
106:Leonardo da Vinci
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41:Leonardo da Vinci
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1559:High Renaissance
1507:Leonardo3 Museum
1449:Bernardino Luini
1371:Fighting vehicle
1285:Codex Atlanticus
1225:(London cartoon)
1209:Relating to the
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1464:Francesco Melzi
1459:Marco d'Oggiono
1429:Cesare da Sesto
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850:
848:
844:
838:
837:Personal life
835:
833:
830:
828:
827:List of works
825:
824:
821:
817:
810:
805:
803:
798:
796:
791:
790:
787:
780:
779:
778:Madonna Litta
773:
769:
768:
758:
752:
748:
744:
739:
738:
727:
723:
719:
715:
710:
706:
702:
698:
696:(cat. no. A3)
693:
688:
684:
679:
678:
659:
655:
649:
633:
629:
628:
623:
619:
613:
606:
601:
594:
589:
583:, p. 224
582:
577:
571:, p. 224
570:
564:
557:
552:
536:
532:
526:
520:, p. 234
519:
514:
507:
502:
495:
490:
482:
475:
473:
471:
464:, p. 222
463:
458:
451:
446:
439:
434:
430:
428:
427:
417:
416:Madonna Litta
411:
407:
404:
403:
392:
389:
388:
382:
380:
376:
372:
371:Madonna Litta
368:
357:
355:
351:
347:
343:
337:
332:
327:
325:
319:
315:
313:
312:Ca' Contarini
309:
305:
304:Madonna Litta
295:
292:
290:
289:Madonna Litta
286:
278:
273:
269:
266:
265:Madonna Litta
261:
257:
253:
249:
244:
242:
237:
233:
229:
225:
221:
220:Madonna Litta
213:
209:
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193:Madonna Litta
190:
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178:
177:Madonna Litta
168:
166:
162:
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154:
150:
145:
143:
139:
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131:
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125:
124:
119:
115:
111:
107:
103:
102:
101:Madonna Litta
92:
88:
85:
81:
77:
73:
69:
65:
62:
58:
49:
45:
42:
38:
34:
30:
25:
22:Madonna Litta
20:
1576:
1568:
1551:
1544:
1454:Cesare Magni
1439:Giampietrino
1416:Leonardeschi
1361:Aerial screw
1342:
1319:
1305:Codex Madrid
1262:
1255:
1248:
1241:
1236:Christ Child
1234:
1220:
1210:
1197:
1189:
1176:
1169:
1162:
1154:
1141:
1134:
1127:
1120:
1113:
1106:
1099:
1085:(unexecuted)
1082:Sforza Horse
1080:
1073:
1066:
1044:
1037:
1030:
1023:
1016:
998:
991:
984:
977:
969:
961:
953:
946:
939:
932:
925:
917:
910:
903:
902:
895:
888:
881:
874:
867:
859:
852:
777:
746:
742:
725:
713:
704:
701:Kemp, Martin
691:
682:
661:. Retrieved
657:
648:
636:. Retrieved
632:the original
625:
618:Kemp, Martin
612:
607:, p. 27
600:
588:
576:
563:
558:, p. 26
551:
539:. Retrieved
534:
525:
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501:
489:
480:
457:
445:
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370:
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346:Alexander II
328:
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276:
264:
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235:
219:
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207:
192:
176:
174:
146:
127:
121:
118:Christ child
100:
99:
97:
1278:Manuscripts
1190:Last Supper
722:Syson, Luke
379:Martin Kemp
360:Attribution
334: [
324:Zoan Andrea
114:Virgin Mary
66:on canvas (
54: 1490
1620:Categories
1351:Great Kite
1211:Virgin and
1060:Sculptures
663:2018-11-25
605:Brown 2003
567:Quoted in
556:Brown 2003
397:References
298:Provenance
248:white lead
224:metalpoint
197:Florentine
75:Dimensions
1552:Mona Lisa
1533:Namesakes
1406:World Map
986:Mona Lisa
846:Paintings
450:Kemp 2006
438:Kemp 2001
426:Citations
402:Footnotes
138:goldfinch
108:, in the
1656:Nude art
1605:Category
1366:Crossbow
385:See also
236:exemplum
165:Milanese
151:such as
83:Location
1521:Related
1488:Museums
674:Sources
638:19 June
230:in the
171:History
142:Passion
64:Tempera
1231:(lost)
1018:Medusa
753:
541:4 July
241:Städel
232:Louvre
185:Uffizi
36:Artist
1474:Salaì
1396:Sonar
1376:Robot
745:[
342:Litta
338:]
212:recto
751:ISBN
640:2019
543:2013
175:The
163:, a
98:The
60:Type
47:Year
155:or
1622::
966:✻✻
922:✻✻
656:.
624:.
533:.
469:^
336:it
181:c.
144:.
89:,
51:c.
974:✻
958:✻
907:✻
864:✻
808:e
801:t
794:v
759:.
666:.
642:.
545:.
214:.
70:)
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