What Is the Second Most Famous Art From Leonardo Da Vinci

Leonardo da Vinci Almost Famous Paintings

Who is Leonardo da Vinci?

Leonardo da Vinci was known as " The Renaissance Human being" and widely admired for his painting of the Mona Lisa and The Last Supper. He assumed many roles, he was a painter, portraitist, architect, engineer, inventor, philosopher, and geologist. H is genius, talents, and interests opened pathways for him to accomplish many great things.

The Renaissance era was a period of changing social and cultural values. New ideas and experimentation in the fields of art began.

Renaissance painters were moving from the flat space of medieval art and painted more realistic scenes such as landscapes, portraiture and effigy compositions, using realism and naturalism in the portrayal of figures and perspective in landscape painting.

Hither are 20 of Leonardo da Vinci's near famous paintings:

1. Mona Lisa past Leonardo da Vinci
2. The Last Supper by Leonardo da Vinci
3. The Declaration past Leonardo da Vinci
4. Portrait of a Man in Cerise Chalk Cartoon by Leonardo da Vinci
5. Madonna and Child with the Infant Saint John the Baptist by Leonardo da Vinci
6. The Virgin of the Rocks past Leonardo Da Vinci
7. Madonna Litta by Giovanni Antonio Boltraffio and Leonardo da Vinci
8. St John the Baptist by Leonardo da Vinci
9. Mary Magdalene by Leonardo da Vinci
10. Study for the head of Leda by Leonardo da Vinci
11. The Virgin and Kid with Saint Anne by Leonardo da Vinci
12. Madonna of the Carnation by Leonardo da Vinci
13. Madonna of the Yarnwinder by Leonardo da Vinci
14. Salvator Mundi by Leonardo da Vinci
15. Bacchus past Leonardo da Vinci
16. Head of a Woman by Leonardo da Vinci
17. La Belle Ferronniere by Leonardo da Vinci
18. Lady with an Ermine by Leonardo da Vinci
19. La Bella Principessa by Leonardo da Vinci
20. Portrait of Ginevra de' Benci by Leonardo da Vinci

Leonardo da Vinci Artworks

Mona Lisa by Leonardo da Vinci

Mona Lisa is prominent amid Leonardo da Vinci'due south famous paintings. Francesco del Giocondo's married woman, Mona Lisa, is also known as La Gioconda.

This film is done in oil on canvas. The original painting, which measures 77 x 53 cm (30 x 20 7/8 in), is endemic by the French government and hangs in the Louvre in Paris, France.

This effigy of a woman, dressed in the Florentine manner of the day and seated in a dreamlike, mountainous scene, is a stunning example of Leonardo's sfumato modeling method, which involves soft, deeply shaded modeling.

The Mona Lisa's mysterious expression, which is both seductive and aloof, has earned the painting worldwide acclaim. The renowned grinning of the Mona Lisa symbolizes the sitter in the same way that the juniper branches in Ginevra Benci's painting in Washington and the ermine in Cecilia Gallerani'southward portrait in Krakow exercise. It's a visual representation of the Italian word "gioconda," which means "happiness."

This idea of happiness became the major chemical element of Leonardo's portrait, and it is this thought that makes the piece so platonic. The landscape'due south natural dazzler also plays a part. Warm hues are used in the middle distance, which is on the aforementioned level equally the sitter'due south chest.

This area is occupied past men; there is a twisting route and a bridge. This place illustrates the transition from the sitter's infinite to the far distant, when the mural transforms into a wild and uninhabited realm of rocks and h2o that stretches to the horizon, which Leonardo has skilfully depicted at the sitter'southward centre level.

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The Last Supper past Leonardo da Vinci

The Last Supper is Leonardo'southward depiction of an consequence that is mentioned in all four Gospels (books in the Christian New Attestation).

Christ gathered his disciples to eat, inform them he knew what was coming, and wash their feet the evening earlier he was betrayed by ane of his disciples (a gesture symbolizing that all were equal nether the eyes of the Lord).

Christ gave the disciples precise instructions on how to eat and drink in the time to come in recollection of him while they ate and drank together. It was the first Eucharistic celebration, which is even so practiced today.

The Terminal Supper illustrates the adjacent few seconds in this story after Christ dropped the bombshell that one of his disciples will betray him before morning, and each of the twelve disciples has reacted to the news with varying degrees of terror, fury, and amazement.

Leonardo had never worked on such a big painting before, and he had no prior expertise with fresco, the traditional landscape technique. The artwork was created using experimental paints straight on the dry out plaster wall, and unlike frescos, where the pigments are combined with the moisture plaster, it has not held upward well over fourth dimension.

There were bug with the paint flaking off the wall fifty-fifty earlier it was finished, which Leonardo had to fix. It has crumbled, been vandalized, bombed, and reconstructed over the years. We are probably only seeing a small portion of the original today.

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The Declaration by Leonardo da Vinci

The Annunciation, the primary's first slice at the age of twenty, isn't quite Leonardesque nevertheless.

The angel is on the left, the Virgin is on the right, and a lectern is in the middle, all shown in an architectural setting that extends out onto a mural, as per a centuries-old model. With his high brow, fancy wings, costly clothes, and lily, the kneeling affections is magnificently youthful.

Surprised while reading, the Virgin raises her hand in shock and exhibits a fine-featured countenance that some have described equally dank. Her posture, with her knees evenly parted and her body draped in broad and flexible drapery, lends her a powerful colossal presence.

The Announcement was credited to Domenico Ghirlandaio, who, like Leonardo, was an apprentice in Andrea del Verrocchio's workshop when information technology arrived in the Uffizi in 1867 from the Olivetan convent of San Bartolomeo, nigh Florence.

Information technology was recognized equally a youthful work past Leonardo da Vinci past Karl Eduard von Liphart, the central character of the German language departer art community in Florence, in 1869, 1 of the first attributions of a surviving piece to the youthful Leonardo. Since then, Leonardo has been credited with a preparatory drawing for the angel's sleeve.

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Portrait of a Man in Red Chalk Drawing past Leonardo da Vinci

The portrait of a homo in red chalk at the Imperial Library of Turin is commonly best-selling as a self-portrait of Leonardo da Vinci, albeit not unanimously. Leonardo da Vinci is supposed to have fatigued this cocky-portrait when he was around 60 years old.

The painting has been widely replicated, and it has become a symbol of Leonardo'due south condition equally a polymath or "Renaissance Man." Despite this, historians and researchers debate over the sitter's genuine identity. Carmine chalk is used to sketch the portrait on paper. It shows a three-quarter perspective of an elderly human being's head, with his face oriented towards the viewer.

His long hair and long wave beard, which run over his shoulders and chest, distinguish the subject field. The length of the hair and beard is unusual in Renaissance portraiture and denotes a person of sagacity, much as it does at present. Deep lines on the brow and pouches below the eyes distinguish the confront, which features an aquiline nose.

The man looks to have lost his upper front teeth, which has caused the nose grooves to widen. The figure's eyes do not engage the observer, but instead look alee, shrouded by the long brows. As was Leonardo's custom, the cartoon was fatigued in fine distinct lines, shaded past hatching, and finished with the left paw.

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Madonna and Child with the Infant Saint John the Baptist past Leonardo da Vinci

The Virgin Mary is depicted with her arms spread and the babe Christ is cradling a lamb in the picture. A goldfinch, a symbol of the passion, is held by the newborn John the Baptist. The three individuals stand in front of a forested and rocky environment with distant architectural complexes.

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The Virgin of the Rocks by Leonardo Da Vinci

The Virgin of the Rocks (besides known equally The Madonna of the Rocks) is the name given to two paintings past Leonardo da Vinci, both of which depict the same field of study and have a composition that is well-nigh like salvage for two pocket-sized details. The Louvre in Paris normally has ane artwork and the National Gallery in London has the other.

Both paintings depict the Madonna and Christ Child, as well as the newborn John the Baptist and an angel, on a rocky background, as the paintings' names suggest. The angel'due south gaze and right hand have substantial compositional contrasts. Colors, lighting, flora, and the usage of sfumato are simply a few of the minor differences amongst the pieces.

Although the year of an accompanying committee is known, the whole histories of the two works are unclear, leading to word regarding which is older. Leonardo da Vinci'due south central motivation in whatever he did was probably to get to the center of nature and learn its secrets; and his interest in painting could virtually take been to create rivals to nature, combining all his cognition of her into the structure of super-natural objects.

The laws of nature govern The Virgin of the Rocks, simply Leonardo is responsible for the final creation. And he defies nature in several ways that challenge past aesthetic notions.

The end upshot is more organic than bookish. Other painters imposed an intentional schema on nature, viewing it as a witting mixture enriched past fine art, in which buildings were centrolineal to scenery, tiny groups of humans enlivened background areas, and things were artistically re-bundled to reflect a catholic gild. This demonstrated the artist'south creativity. In this picture, Leonardo creates a fantastic grotto that appears to exist entirely human-fabricated.

Information technology appears to exist the result of natural forces: the rocks ribbed and polished past the constant apportionment of water, present in the meandering river but sensed in the subaqueous light and equally providing moisture for the plants - each meticulously recorded - that abound thickly but are pale.

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Madonna Litta past Giovanni Antonio Boltraffio and Leonardo da Vinci

The Madonna lactans is a devotional topic that shows the Virgin Mary breastfeeding the Christ kid.

The figures are positioned in a gloomy interior with two arched arches, similar to Leonardo'due south earlier Madonna of the Carnation, and across them tin can be seen a mountainous scene in aeriform perspective.

Christ carries a goldfinch in his left mitt, which represents his impending Passion. Scholars disagree over the painting'due south attribution, with some suggesting it was created by a Leonardo disciple such every bit Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, on the other paw, believes it is an shorthand work by Leonardo.

The film is named subsequently the House of Litta, a Milanese noble family who had information technology for a long fourth dimension in the nineteenth century.

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St John the Baptist past Leonardo da Vinci

St. John the Baptist was painted by Leonardo da Vinci between 1513 and 1516, at the transition from the High Renaissance to Mannerism, and is thought to exist his final work. This is a walnut wood oil painting. The sculpture was originally 69x57 cm in size.

It is at present on display at the Louvre Museum in Paris, France. The importance of salvation through baptism, which John the Baptist represents, is symbolized by St. John's pointing motility toward the heavens. Later painters, specially those of the belatedly Renaissance and Mannerist schools, oftentimes reference the piece. Incorporating a gesture like to John's would elevate the value of work with a religious bent.

Many people are skeptical of this painting, seeing it as a distressing portrayal of a character who is normally shown as gaunt and fiery, dwelling in the desert and subsisting on locusts and honey. St. John appears to be a hermaphrodite in Leonardo'due south artwork.

He has a womanish arm crossed across his breast, his finger lifted to heaven, and the same enigmatic smile seen on Mona Lisa'south face, besides as in other Leonardo works such equally St. Anne's. His face is almost faun-like, with a magnificent cascade of hair framing information technology. The finger pointing to heaven would occur frequently in Leonardo'south work, indicating the inflow of Christ.

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Mary Magdalene by Leonardo da Vinci

The painting depicts a half-clothed adult female, with her breasts exposed on the upper side of her breast. This was once seen to exist immoral and prostitute-similar. A woman was expected to be morally upright, which included dressing appropriately.

Critics claim that the artwork of the Terminal Supper and Mary Magdalene are identical. Many believe Mary Magdalene is the adult female depicted next to Jesus in Da Vinci's Last Supper film. Leonardo had a talent for creating images that immune the audience to translate the bulletin in their way.

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Report for the head of Leda by Leonardo da Vinci

A delineation of a woman's head rotated three quarters left and staring down. The hair is braided in intricate patterns and put in coils around the ears.

This is a study for Leda's caput in the lost Leda and the Swan painting. Melzi's number is twelve. Leda, Queen of Sparta, was seduced past Jupiter in the form of a swan and carried two eggs, each of which birthed twins, co-ordinate to Greek mythology.

Leonardo worked on 2 versions of a Leda and the Swan composition, one in which she kneels and the other in which she stands, somewhen painting the standing version (destroyed around 1700). Hither, Leonardo paid little mind to her demure downward gaze, instead focusing on the most difficult of hairstyles. The top of her head is covered with parallel plaits, with an interlacing pattern at the temples.

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The Virgin and Child with Saint Anne by Leonardo da Vinci

Saint Anne, her daughter the Virgin Mary, and the baby Jesus are shown in this painting. Equally the Virgin tries to cease Christ, he is portrayed wrestling with a sacrifice lamb signifying his Passion.

The work was commissioned equally the loftier altarpiece for Florence's Santissima Annunziata Church, and Leonardo had been thinking well-nigh it for a long time. On closer inspection, Leonardo's picture is both pleasant and tranquil, but too perplexing.

The three figures are arranged in a meaty composition, with the Virgin Mary engaging with the child Jesus. Mary is sitting on Saint Anne's lap, as may be seen past a closer inspection of their positions. It'south unknown what this could stand for or what message Leonardo was trying to send with that position.

There are no obvious parallels in other works of art, and women sitting on each other'due south lap are not a cultural or traditional reference to which the audition may relate. Furthermore, while neither the Mother Virgin nor Saint Anne's exact sizes are known, information technology is clear from the painting that Saint Anne is a much larger person than Mary.

Despite the apparent lack of visual indications indicating Saint Anne'south older age that would otherwise place her as the mother, Leonardo used this faint nevertheless observable size baloney to emphasize the mother–daughter relationship between the two figures. A lamb is held past the kid. Mary is besides seen gazing into the optics of her child, while Saint Anne is looking at Mary.

Leonardo may have been aiming to make a message about their relationship and personalities past having Mary sit on her lap and Saint Anne looking at her.

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Madonna of the Carnation by Leonardo da Vinci

Jesus reaches clumsily for the flower held tenderly in Mary'south manus in Madonna of the Carnation. He appears to be unable to control his motions, as all infants exercise, as he tries to grab the sign of the Passion.

It has a Venetian season and a projected appointment of circa 1469, showing strong similarities to Madonna with the Carnation. This is the same yr every bit Verrocchio's visit to Venice, which was closely followed by Leonardo'south.

This film, also known as the Munich Madonna or the Madonna with the Vase because of the vase of flowers beside her, dates from 1478-1480 and is regarded one of Leonardo's earliest independent works.

Although many researchers disagree on this bespeak, other factors support the theory. Some of the intricacies in the Virgin'due south face may exist seen in one of his drawings, and the hair, Madonna'southward left hand, mural, drapes, and the cushion on which the infant is seated are all typical of Leonardo, equally is the use of chiaroscuro.

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Madonna of the Yarnwinder by Leonardo da Vinci

This tiny picture was completed by Leonardo, but the original is likely gone. There are several copies still in existence, and at that place is considerable conjecture that two of them are by Leonardo himself, although this is still upwards for question, and they might just as hands have come from gifted classmates. Because a letter from April of that year reveals Leonardo working on Madonna of the Yarnwinder, the original slice can be safely dated to 1501.

This picture has one of the most interesting and consummate sketches Leonardo has created; a close exam reveals that the piece is based on geometric figures such equally triangles and ellipses.

The Imperial Drove at Windsor Castle also has an exquisite red chalk depiction of the Madonna'southward caput and shoulders. The winder in this piece of work, meant for Florimond Robertet, Secretary to the King of France, is designed similar a cross, symbolizing Christ's Passion and impending death. Mary looks to be trying to have the Child away from the emblem of His time to come, but she is unable to stop the Crucifixion, which is a part of His fate.

The settings change drastically betwixt the two pictures, with one depicting a severe mountain range below a vibrant blue sky and the other running downward to the sea. Leonardo drew dozens of studies of small children in preparation for paintings that included the Christ child or the infant St. John the Baptist.

The majority of his children are between the ages of nine and eighteen months, all are presented naked, and all announced identical enough to make the observer wonder whether each painting was modeled by the same child. Unfortunately, Madonna with the Carnation has deteriorated considerably, and the surface has taken on a leathery appearance equally a result of a faulty restoration; this is notably noticeable on the Madonna's face.

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Salvator Mundi by Leonardo da Vinci

King Louis XII of French republic and his consort, Anne of Brittany, may accept deputed Leonardo to create Salvator Mundi.

It was nearly likely commissioned soon after Milan and Genoa were conquered. The 26-inch oil-on-panel artwork features a half-length figure of Christ as Savior of the World facing forward and dressed in Renaissance-era attire.

Leonardo depicts Christ equally he is described in John four:fourteen of the Gospel of John: 'And nosotros have seen and bear witness that the Father has sent his Son as the Saviour of the Globe.' Christ, softly disguised with auburn ringlets and property a crystal sphere in his left manus while bestowing benediction with his right, stares fixedly at the viewer.

Salvator Mundi was said to have been destroyed at one bespeak. The moving-picture show was lost from 1763 until 1900, when Sir Charles Robinson purchased it and identified it every bit a work by Bernardino Luini, a Leonardo admirer. In 1958, it was auctioned at a Sotheby's in England, where it sold for £45 (about $125 at the time). It then vanished until 2005, when information technology was purchased at a minor American sale house.

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Head of a Woman past Leonardo da Vinci

It was painted in oil, umber, and white lead paints on a small-scale poplar woods console, and its attribution is nevertheless debated, with numerous scholars challenge it was washed by a Leonardo pupil.

The motion picture has been praised for its alluring beauty, secretive demeanor, and sfumato expertise.

The theme, date, history, and purpose of the picture are all disputed. It depicts an unidentified woman looking down, her hair filling the frame behind her. Many theories accept been presented almost the painting, including that it is a sketch for an unfinished painting of Saint Anne.

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Bacchus by Leonardo da Vinci

John the Baptist was initially featured in the picture. It was overpainted and renovated in the belatedly 17th century, between 1683 and 1693, to serve as Bacchus.

The suavely beautiful, youthful, and slightly androgynous Giovannino was then at odds with artistic conventions in portraying the Baptist – neither the older ascetic prophet nor the Florentine baby Giovannino, but a type of Leonardo'southward invent – that Cassiano dal Pozzo remarked of the painting in its former state, which he saw at Fontainebleau in 1625, that it had neither devotion, decorum, nor similitude.

By transforming the long-handled cross-like staff of the Baptist to a Bacchic thyrsus and calculation a vine wreath, the overpainting changed the figure of St. John into that of a pagan deity.

The fur robe is a John the Baptist heirloom, but information technology has been overpainted with leopard-spots, which, similar the wreath, are associated with Bacchus, the Roman god of alcohol and intoxication.

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La Belle Ferronniere past Leonardo da Vinci

Ludovico Sforza's starting time mistress, Cecilia Gallerani, was depicted by Leonardo as Lady with an Ermine.

The Duke would later have another mistress, Lucrezia Crivelli, and information technology is believed that she is the subject of this motion picture. Some other possibility, albeit less widely recognized, is that this artwork depicts Isabella of Aragon. This could be Leonardo'south work or it could non.

The adult female'southward features are bigger and heavier than those institute in Leonardo'south portraits, and the attitude is potent, which is unusual for him. "One would regret having to accept this as Leonardo's piece of work," Bernard Berenson once observed of this image.

The knotted ribbons on her shoulders and the cords effectually her neck, which are similar to Leonardo'south mode, are cited past those who believe this is a real Leonardo. Information technology's possible that this painting was done by an apprentice, or that Leonardo was forced to produce a traditional Milanese courtly portraiture at the whim of his patron; custom demanded an unnatural pose like the one shown in this painting.

As illustrated in this piece, it also placed a loftier value on extravagant clothing, jewelry, and other embellishments. Another possibility is that this was a collaborative slice involving multiple painters from the Schoolhouse of Leonardo and based on his design.

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Lady with an Ermine by Leonardo da Vinci

Leonardo da Vinci'due south painting Lady with an Ermine dates from approximately 1489-1490. The oil on the walnut lath painting measures 40.3 cm wide past 54.viii cm loftier. Regrettably, the original properties was presumably covered in the 17th century. Cecilia Gallerani is the bailiwick of the painting, which was about likely painted while she was the mistress of Lodovico Sforza, Duke of Milan, while Leonardo was in his service.

Lady with an Ermine has had a lot of pigment applied to information technology. The entire groundwork was darkened, her outfit behind the ermine was retouched, and the woman's transparent veil was repainted to lucifer her pilus color.

The final retouching has given the impression that her hair reaches down and beneath her chin. Another change was the inclusion of black shadows between her correct hand'southward fingers; a close examination of the bottom two fingers reveals that they are far inferior to the others later being repainted by an unknown restorer. In the original groundwork of this picture, an 10-ray showed the presence of a door. Lady with an Ermine by Leonardo da Vinci is 1 of the most of import works in Western art.

Only a few genuine panel paintings of his have survived. Leonardo, who was insatiably curious, frequently painted with experimental materials or abased projects after mastering the formal challenges they posed.

The Lady with an Ermine, a work of farthermost rarity, is a stunning image of perfect dazzler that demonstrates Leonardo da Vinci's exceptional artistic genius.

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La Bella Principessa by Leonardo da Vinci

La Bella Principessa (English: "The Beautiful Princess"), also known as Portrait of Bianca Sforza, Young Girl in Profile in Renaissance Apparel, and Portrait of a Young Fiancée, is a vellum portrait in colored chalks and ink of a young lady dressed in stylish costume and hairstyle of a Milanese of the 1490s.

It has been credited to Leonardo da Vinci past certain researchers, although the attribution, as well as the work's validity, have been questioned. Although radiocarbon dating studies suggest a considerably older age for the vellum, some who disagree with the attribution to Leonardo believe the portrait is past an early on 19th-century High german artist mimicking the manner of the Italian Renaissance. Information technology's been called a forgery equally well.

The white lead has a provenance of at to the lowest degree 225 years. In 1998, the art was auctioned for just nether $22,000, and its nowadays owner, Peter Silverman, purchased information technology in 2007. He has pushed for Leonardo's attribution, which is backed up by scholars Martin Kemp and Pascal Cotte's research.

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Portrait of Ginevra de' Benci by Leonardo da Vinci

Leonardo da Vinci produced a portrait of Ginevra de' Benci circa 1474-1476. It measures 42 10 37 cm (16 i/two ten 14 one/two in.) and is painted on wood.

The National Gallery of Art in Washington, DC today owns information technology, and information technology is the only Leonardo painting in the Americas. Ginevra de' Benci, a lady of the aristocracy in 15th-century Florence, was praised by Florentine contemporaries for her brilliance.

She is the subject of just most 17 Leonardo da Vinci paintings that have survived. This lady appears sulky, unforgiving, and arrogant, in dissimilarity to Leonardo'southward other female person portraits; this is highlighted by the slightly smaller cast of 1 eye, which makes her appear withdrawn.

Her left eye appears to be looking direct at united states of america, while her right middle appears to exist looking beyond some intangible point. Ginevra has shaved her brows, equally had other Florentine ladies of the fourth dimension (this is besides obvious in the Mona Lisa). Perhaps her look hinted at her dissatisfaction with her impending marriage.

She would eventually get into self-imposed exile in lodge to recover from a astringent disease, as well every bit be plagued by an ill-fated love thing. The flowing ringlets of her hair frame the marble aspect of her complexion, which Leonardo polished with his own mitt.

This and so contrasts brilliantly with the juniper bush'south halo of spikes. Leonardo used layered oil glazes to create a thin veil of mist in the backdrop of this painting, known as sfumato. Despite the fact that Leonardo did not invent this effect, he became famous for his masterful awarding of it.

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