Alla Leonardo Da Vincis Oljemålningar

Bilder

Oljemålningar Från A till Z

Information

1104

Adoration of the Magi

Florence

33468

Adoration of the Magi

mk86 c.1481 Oil and bistre on wood 240x246cm Florence,Galleria degli Uffizi.

40251

Adoration of the Magi

mk156 c.1481 Tempera,oil,vanish and white lead on panel 246x243cm

94722

Bacchus

1510-1515 Type Oil on walnut panel transferred to canvas Dimensions 177 cm x 115 cm (70 in x 45 in) cyf

20096

Bacchus (mk05)

Canvas,69 1/2 x 45 1/2''(177 x 115 cm).Collection of Louis

50879

Cartoon

mk216 Drew this cartoon,a full-scale composition of the Virgin and Child with St Anne and the Infant St John the Baptist.

1122

Christ's Head

48637

Detail of Madonna of the Rocks

mk191 Oil on board

48638

Detail of Madonna of the Rocks

mk191 Flowers oil on the board

48639

Detail of Madonna of the Rocks

mk191 Oil on board

44880

Flower Studies

mk176 c.1505-08

45892

Horses with horsemen

mk178 after 1481 Metallstifizeichnung, with feather and brown India ink reinforced on Prapariertem paper 14.3x12.8cm

94731

John the Baptist

1513-1516 Type Oil on walnut wood Dimensions 69 cm x 57 cm (27.2 in x 22.4 in) cyf

84872

La Belle Ferronniere

Probably before 1750 Medium Oil on canvas cyf

1072

La Gioconda (The Mona Lisa)

1503-06 Musee du Louvre, Paris

40272

Lady with Emine

mk156 1483-1490 Oil on panel 54x39cm

33467

Last Supper

mk86 1495-1498 Oil tempera on plaster 460x880cm Milan,Santa Maria delle Grazie, Refectory

1083

Leda

Galleria Borghesee, Rome

52320

Madonna and Child with a Pomegranate

1472-76 Oil on panel, 15,7 x 12,8 cm

10078

Madonna Benois Madonna with a Flower

1475-1478. Oil on canvas Hermitage, St. Petersburg,Russia

48636

Madonna of the Rocks

mk191 about 1508 oil on board 189.5x120cm

56817

Madonna of the Rocks

mk250 About the year 1485. Oil painting of wood, about 190.5 x 109.2 cm. The Louvre in Paris.

40239

Madonna with a Flower

mk156 1478 Oil on canvas 49.5x33cm

40280

Mona Lisa

mk156 c.1503-1506 Oil on poplar panel 77x53cm

55904

Mona lisa

1503 , oil on wood panel , 30.375x20.875 in ,77x53 cm, louvre,paris,france

45583

Pod of cherry and forest strawberry

mk186 1487-89 Paris institute de France

20962

Portrait of a Lady at the Court of Milan (san05)

Wood 25 x 17 1/2''(63 x 45 cm)Collection of Louis XIV INV 778 (MN)

1079

Portrait of a Musician

Pinacoteca Ambrosiana, Milan

1127

Portrait of Cecilia Gallarani

1485 Czartoryski Museum, Cracow

1093

Portrait of Ginerva de'Benci

1474 National Gallery, Washington DC

1095

Portrait of Ginerva de'Benci-u

88664

Portrait of Ginevra de' Benci

between 1474(1474) and 1478(1478) Medium Oil on wood cyf

20958

Portrait of Mona Lisa,La Gioconda (mk05)

1503-1506 Wood 30 1/4 x 21''(77 x 53 cm)The subject is thought to be the wife of a Florentine,Francesco del Giocondo Cut at the sides,losing pillars framing a window,which are now barely visible.Entered the Louvre about 1519 INV 779 (MN)

45845

Regisol

mk178 1490 pen-and-ink drawings 2.9x3.6cm

52323

Reverse side of the portrait of Ginevra de' Benci

1474-46 Oil on wood, 38,8 x 36,7 cm

1086

Saint John the Baptist

Musee du Louvre, Paris

63028

Studies for a Nativity

193 x 162 mm Metropolitan Museum of Art, New York Leonardo left hundreds of notebooks filled with drawings in which he explored ideas, compositions, or inventions. His curiosity led him to sketch and puzzle out diverse subjects, such as running water, growing plants, and human anatomy. The series of sketches on this sheet show Leonardo exploring a theme that would later emerge as the Virgin of the Rocks, in which the Virgin kneels over the infant Jesus, raising her right hand in benediction. Artist: LEONARDO da Vinci Painting Title: Studies for a Nativity , 1451-1500 Painting Style: Italian , graphics Type: study

62436

Study for a kneeling Leda

1503-07 Black chalk, pen and ink on paper, 126 x 109 cm Museum Boijmans Van Beuningen, Rotterdam Leda, the wife of the king of Sparta, was seduced by Zeus in the form of a swan. She gave birth to two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. This and a second compositional plan in Chatsworth show the kneeling Leda gently embracing the swan. With her right hand she is pointing to the children.

52322

Study for the Trivulzio Equestrian Monument

1508-10 Pen and ink on paper, 280 x 198 mm

52328

Study of a child

c. 1508 Chalk on paper

40234

The Annunciation

mk156 c.1472 Oil and tempera on panel 98x217cm

51691

The Annunciation

nn09 c.1472-75 Oil on wood 98x217cm

10077

The Annunciation d

1472-1475. Oil and tempera on wood. Uffizi Gallery, Florence, Italy

1106

The Annunciation-o

Galleria degli Uffizi, Florence

10075

The Baptism of Christ

1472-1475. Oil and tempera on wood. Uffizi Gallery,Florence

1090

The Battle of Anghiari

Galleria degli Uffizi, Florence

44883

The Battle of Anghiari

mk176 1503-06 Oil on plaster

40265

The Last Supper

mk156 1495-1498 Oil and tempera on stone 460x880cm

1077

The Last Supper-l

1495-98 Fresco Santa Maria dell Grazie, Milan

1101

The Madonna of the Carnation

Pinakothek, Munich

20097

The Virgin and Child with Anne (mk05)

Wood 66 1/4 x 51 1/4\'\'(168 x 130 cm)Entered the Louvre in 1636

40277

The Virgin of the Rocks

mk156 1483-86 Oil on panel 199x122cm

42972

The Virgin of the Rocks

mk170 Cira 1508 Oil on wood 189.5x

86422

The Virgin of the Rocks

1503-1506 Medium Oil on panel Dimensions 189.5 x 120 cm (74.6 x 47.2 in) cyf

1098

Virgin and Child with St Anne

Musee du Louvre, Paris

33454

Virgin and Child with St Anne and St John the Baptist

mk86 c.1495 Charcoal,heightened with white on cardboard 144.5x104cm London,National Gallery

44891

Virgin of the Rocks

mk176 c.1485 Oil on wood 190.5x109.5

21762

Virgin of the Rocks (mk10)

Oil on canvas, 199 x 122 cm Paris,Musee du Louvre

Leonardo Da Vinci

Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.

Sweden Wholesale Oil Paintings, Stretcher Bars, Picture Frames & Beveled Mirrors