Annunciation
Earliest substantial Leonardo composition; Verrocchio workshop with Leonardo’s emerging hand in the angel and landscape.
Open painting pagePaintings Hub
Attributed paintings, workshop pieces, and contested attributions — arranged chronologically
Scope
Around twenty paintings are commonly accepted as autograph or substantially by Leonardo, with several more contested. This hub presents them in chronological order across his career, with a separate section for the partial and lost works.
Each painting page includes provenance, technical analysis, attribution debate, and links to related notebook pages and cast profiles.
Florence I — Verrocchio Workshop and Early Independence (1472–1481)
Baptism of Christ
Verrocchio commission with Leonardo’s left angel and atmospheric distance — a hinge moment in the workshop.
Open painting pageGinevra de’ Benci
First independent portrait commission; juniper bush as visual pun on the sitter’s name.
Open painting pageMadonna of the Carnation
Early devotional image with crystalline still life and Flemish-influenced atmosphere.
Open painting pageBenois Madonna
Domestic devotional scene of intimate proto-grace; an early experiment in oil glazing.
Open painting pageAdoration of the Magi
Underdrawing-only revolution: composition of swirling figures abandoned when Leonardo left for Milan.
Open painting pageSaint Jerome in the Wilderness
Anatomical undermodelling laid bare; one of the most studied unfinished pictures in Western art.
Open painting pageMilan I — The Sforza Years (1482–1499)
Virgin of the Rocks (Louvre)
First version of the contested altarpiece; rocky grotto with sfumato landscape and disputed iconography.
Open painting pageLady with an Ermine
Cecilia Gallerani; the new portrait pose — turning torso, alert sitter, animal as emblem.
Open painting pagePortrait of a Musician
Only male portrait attributed to Leonardo; partial completion shows the layered painting process.
Open painting pageLa Belle Ferronnière
Sforza-court portrait of contested identity; tightly rendered fabric and parapet device.
Open painting pageThe Last Supper
Refectory mural in unstable mixed technique; the most influential narrative composition in Western painting.
Open painting pageMadonna Litta
Workshop participation likely; design from Leonardo — debated execution by Boltraffio or other pupil.
Open painting pageItinerant Years — Florence II, Mantua, Romagna (1500–1506)
Madonna of the Yarnwinder
Commissioned for Florimond Robertet; multiple workshop versions trace the design through Florence.
Open painting pageThe Battle of Anghiari
Lost mural commissioned beside Michelangelo’s Cascina; the paragone duel that shaped Renaissance art.
Open painting pageMilan II and France — Late Career (1506–1519)
Mona Lisa (Louvre)
The most studied painting in history; Leonardo carried it to France and worked on it for over a decade.
Open painting pageMona Lisa (Prado)
Workshop version painted alongside the Louvre original; central to the stereoscopic-pair hypothesis.
Open painting pageVirgin of the Rocks (London)
Second authorized version of the altarpiece; refined cooler palette and revised iconography.
Open painting pageVirgin and Child with St Anne
Three-generation pyramid composition refined for over fifteen years; never finally signed off.
Open painting pageSt John the Baptist
Final attributed painting; the most extreme application of sfumato and chiaroscuro — figure emerging from darkness.
Open painting pageSalvator Mundi
The most expensive painting ever sold at auction; attribution remains intensely debated.
Open painting pageRelated
- Drawings Hub — sketches, anatomical studies, and engineering pages
- Lost and Unfinished Works — partial, abandoned, and lost pictures
- Paintings Catalog (Learn) — deeper essays on each painting
- Mona Lisa Restored — digital varnish removal project
- Stereoscopic Viewer — the Mona Lisa pair hypothesis