Paint & Brush
GALLERY
"Painting is poetry that is seen rather than felt."
-Leonardo Da Vinci
"Art washes away from the soul the dust of everyday life."
-Pablo Picasso
"You use a glass mirror to see your face,you use works of art to see your soul."
- George Bernard Shaw
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This is a painting of the Biblical subject of the Annunciation, by the Italian Renaissance artists Leonardo da Vinciand Andrea del Verrocchio, dating from circa 1472–1475 and housed in the Uffizi gallery of Florence, Italy.
The subject matter is drawn from Luke 1.26-39 and depicts the angel Gabriel, sent by God to announce to a virgin, Mary, that she would miraculously conceive and give birth to a son, to be named Jesus, and to be called "the Son of God" whose reign would never end. The subject was very popular for artworks and had been depicted many times in the art of Florence, including several examples by the Early Renaissance painter Fra Angelico. The details of its commission and its early history remain obscure.
In 1867, following Gustav Waagen methods, Baron Liphart identified this Annunciation, newly arrived in the Uffizi Gallery from a convent near Florence, as by the young Leonardo, still working in the studio of his master Verrocchio. The painting has since been attributed to different artists, including Leonardo and Verrocchio's contemporary Domenico Ghirlandaio. It was more recently determined to be a collaboration between Leonardo and his master Verrocchio, with whom Leonardo collaborated on the Baptism of Jesus.
Annunciation
leonardo Da Vinci
The Baptism of Christ
The Baptism of Christ is a painting finished around 1475 in the studio of the Italian Renaissance painter Andrea del Verrocchio and generally ascribed to him and his pupil Leonardo da Vinci. Some art historians discern the hands of other members of Verrocchio's workshop in the painting as well. The picture depicts the Baptism of Jesus by John the Baptist as recorded in the Biblical Gospels of Matthew, Mark and Luke. The angel to the left is recorded as having been painted by the youthful Leonardo, a fact which has excited so much special comment and mythology, that the importance and value of the picture as a whole and within the œuvre of Verrocchio is often overlooked. Modern critics also attribute much of the landscape in the background and the figure of Christ to Leonardo da Vinci as well The painting is housed in the Uffizi Gallery inFlorence.
Mona Lisa
The painting, thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, is in oil on a white Lombardy poplar panel, and is believed to have been painted between 1503 and 1506. Leonardo may have continued working on it as late as 1517. It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Louvre Museum in Paris since 1797.[2]
The subject's expression, which is frequently described as enigmatic,[3] the monumentality of the composition, the subtle modeling of forms, and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.[4]
The Virgin and Child with St. Anne
Leonardo's painting is at once both pleasing, calm yet confusing upon closer examination. The composition of the three figures is fairly tight, with the Virgin Mary clearly interacting actively with the infant Jesus. However, upon closer examination of the positioning of the Virgin and St Anne one realizes that the Virgin Mother is sitting on St Anne's lap. It is unclear what meaning this could have and what meaning Leonardo intended to project with that pose. There is no clear parallel in other works of art and women sitting in each other's lap are not a clear cultural or traditional reference that the viewer can relate to. Additionally, although the exact sizes of neither the Mother Virgin nor St Anne are known, it can be easily extrapolated from the painting that St Anne is a significantly larger person than Mary. This subtle yet perceptible distortion in size was utilized by Leonardo to emphasize the mother daughter relationship between the two women despite the apparent lack of visual cues to the greater age of St Anne that would otherwise identify her as the mother. The child is holding a lamb.
