Isabella Flores
Leonardo da Vinci is known for his iconic works such as the Mona Lisa and The Last Supper, but how many self-portraits did he paint? There is debate among art historians as to the exact number, with some arguing that there is only one surviving self-portrait, a red chalk drawing of an elderly man with long hair and a beard, created in 1512. Others claim there are several self-portraits by Leonardo, including a 1471 painting of Gabriel, a sketch by an unknown assistant on the back of one of his studies from around 1517, and a self-portrait in his Codex on the Flight of Birds, which depicts him at 53 years old. Some also believe he may have included a self-portrait in Luca Pacioli's Divina proportione, which he illustrated.
| Characteristics | Values |
|---|---|
| Number of self-portraits | 1 or more |
| Medium | Red chalk |
| Date of creation | c. 1510 or c. 1512 |
| Current location | National Gallery of Art in Washington |
| Condition | Poor |
| Dimensions | 33.3 x 21.3 cm |
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What You'll Learn
- The only known self-portrait of Leonardo da Vinci is at the National Gallery of Art in Washington
- The red chalk drawing of an old man is a self-portrait created by Leonardo da Vinci
- A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53
- A 1471 painting of Gabriel is a self-portrait of Leonardo da Vinci
- A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a musical instrument
The only known self-portrait of Leonardo da Vinci is at the National Gallery of Art in Washington
The National Gallery of Art in Washington, D.C. is home to the only known self-portrait of Leonardo da Vinci. The painting, created between 1475 and 1480, was previously attributed to the Italian painter Cariani. Cariani's portraits often featured similar backgrounds, and it is believed that he drew inspiration from Leonardo da Vinci's work. The self-portrait depicts da Vinci dressed in the style of the time, with a particular focus on drapery, which the artist was interested in during the 1470s.
The National Gallery of Art is the only museum in the Americas that has a Leonardo da Vinci painting on public display. The painting, titled "Ginevra de' Benci," is a portrait of a 15th-century Florentine aristocrat and was acquired by the museum in 1967. It is one of the highlights of the museum and is admired for its portrayal of Ginevra's temperament. The painting is known for Ginevra's austere expression, with no hint of a smile, and her indifferent gaze.
While the self-portrait is the only known painting by da Vinci at the National Gallery of Art, the museum holds several other works by the artist. These include "Grotesque Head of an Old Woman" (1489-1490), a pen and brown ink drawing; "Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat" (c. 1474/1478), a tempera on panel piece; and "Sheet of Studies" (probably 1470/1480), a pen and brown ink drawing.
The National Gallery of Art in Washington, D.C. is a renowned institution that houses a significant collection of artworks, including the precious self-portrait of Leonardo da Vinci. The painting's presence at the museum adds to its cultural and historical significance, making it a valuable destination for art enthusiasts and those interested in da Vinci's work.
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The red chalk drawing of an old man is a self-portrait created by Leonardo da Vinci
Leonardo da Vinci is known for his paintings, but he also created drawings, including self-portraits. The red chalk drawing of an old man is a self-portrait by Leonardo da Vinci, which has been dated to c. 1510-1515, with some scholars suggesting the more precise year of 1512. It is a small artwork, measuring 33.3 cm x 21.6 cm (13.1 in x 8.5 in), which is typical of his portrait drawings. The early provenance of this drawing is unknown, and the earliest record of it is from around 1839 when it was acquired by a collector by the name of Giovanni Volpato. It was then sold to King Carlo Alberto of Savoy, also known as Prince Charles Albert of Sardinia, who had a particular interest in Renaissance drawings.
The assumption that the drawing is a self-portrait of Leonardo was made in the 19th century based on the sitter's resemblance to the possible portrait of Leonardo as Plato in Raphael's The School of Athens, as well as the high quality of the drawing, which is consistent with Leonardo's other works. It was also decreed to be a self-portrait due to its likeness to the frontispiece portrait of Leonardo in Vasari's second edition of 'The Lives of the Artists' (1568).
However, there is some debate about the identity of the sitter, as the man in the portrait appears older than Leonardo was at the time it was drawn. Leonardo died at the age of 67, and the drawing is believed to have been created when he was between the ages of 58 and 60. Some have suggested that the portrait may be of Leonardo's father, Piero da Vinci, or his uncle Francesco, as they both lived until the age of 80.
During World War II, the presumed self-portrait was temporarily moved from Turin to Rome to prevent it from being taken by the Nazis, and it sustained some damage during this time. Due to its poor condition and fragility, it is rarely on display to the public, but it can be found at the Royal Library in Turin, Italy.
There are several other possible self-portraits by Leonardo da Vinci, including a 1471 painting of Gabriel, a self-portrait from his Codex on the Flight of Birds depicting himself at age 53, and a portrait in Luca Pacioli's 'Divina proportione', which he illustrated. Some also believe he may have included a self-portrait in a 1505 engraving by Marcantonio Raimondi, portraying him playing a lira da braccio.
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A self-portrait from Leonardo's Codex on the Flight of Birds depicts the artist at age 53
Leonardo da Vinci is one of the most renowned artists of the Italian Renaissance, and his works continue to captivate audiences centuries later. While he is best known for paintings like the "Mona Lisa" and "The Virgin of the Rocks", da Vinci's self-portraits offer a personal glimpse into the artist's life and self-perception.
One such self-portrait, attributed to da Vinci, is the "Self Portrait on the Flight of Birds Codex", which dates back to circa 1485. This artwork, created during the Early Renaissance, reflects the period's emphasis on realistic depiction and humanism. The central focus is the artist's visage, crafted with soft yet defined features, capturing an introspective and serene expression. Overlaid on the portrait are faint outlines suggestive of birds in flight, reflecting da Vinci's fascination with nature and his interest in human-powered flight. This self-portrait is particularly significant as it depicts the artist at the age of 53, offering a mature perspective on his life and work.
The "Self Portrait on the Flight of Birds Codex" is not the only instance of da Vinci including self-referential elements in his work. Some scholars believe that he may have included self-portraits in other works, such as Luca Pacioli's "Divina proportione", which he illustrated. Additionally, a 1471 painting of Gabriel bears an inscription indicating it as a self-portrait, which, if true, would be the earliest known depiction of the artist.
Da Vinci is also thought to be portrayed as Plato in Raphael's "The School of Athens" (1511), and he may have been the model for two works by his master Verrocchio: the bronze statue of David (c. 1476) and "Tobias and the Angel" (c. 1475). A red chalk drawing of an old man with long wavy hair and a beard, simply titled "Portrait of a Man in Red Chalk", has long been considered a self-portrait of da Vinci, influencing how most people imagine his appearance. However, some scholars dispute this, arguing that the figure appears older than da Vinci ever was, as he died at 67.
Despite the debates surrounding the attribution of certain portraits, the "Self Portrait on the Flight of Birds Codex" remains a significant work. It provides a window into da Vinci's life at a mature stage, showcasing his artistic skill and offering a unique perspective on his self-perception during the Renaissance period.
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A 1471 painting of Gabriel is a self-portrait of Leonardo da Vinci
Leonardo da Vinci is one of the most renowned artists of the Italian Renaissance, and his surviving paintings are few in number. One of the most famous artworks in the world, the Mona Lisa, was painted by da Vinci. However, there is some debate about whether a 1471 painting of Gabriel is a self-portrait of the artist.
The painting in question is a profile of the Archangel Gabriel painted on a glazed tile. It has been claimed as a self-portrait of Leonardo da Vinci at age 18 by Italian art historian Ernesto Solari and handwriting expert Ivana Rosa Bonfantino. They base their claim on a signature on the work, reading "Da Vinci Lionardo," dated 1471, which Bonfantino analysed and claimed was a close match to da Vinci's other signatures. Solari also believes that scientific dating tests support the 15th-century origin of the tile, which is owned by an aristocratic family in Ravello.
However, the idea that this is a self-portrait by da Vinci has been dismissed by some art experts. Robert Simon, president of the gallery that re-evaluated Salvator Mundi, stated that the painting "seems to be about the least likely" to be by Leonardo and that it "has no resemblance to any Leonardo." Martin Kemp, an Oxford emeritus professor of art history, also dismissed the claim, stating that "the chance of its being by Leonardo is less than zero."
The debate over the 1471 painting of Gabriel highlights the difficulty in authenticating artworks attributed to Leonardo da Vinci. While some scholars and experts may present evidence to support their claims, there is often room for interpretation and disagreement. This particular debate also raises questions about the methods and criteria used to attribute artworks to specific artists, especially in cases where the evidence may be inconclusive or subject to interpretation.
It is worth noting that there are very few genuine works by Leonardo da Vinci that survive, and almost all of them are in museum collections. This is partly due to his diverse academic and scientific interests, which included inventions such as flying machines and siege engines, as well as his artistic pursuits.
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A 1505 engraving by Marcantonio Raimondi may portray Leonardo playing a musical instrument
There are varying opinions on the number of self-portraits by Leonardo da Vinci. Some sources claim that there is only one known self-portrait, housed in the National Gallery of Art in Washington, while others state that there are two surviving contemporary portraits: a red chalk self-portrait of an old man housed in Biblioteca Reale, Turin, and a drawing by Francesco Melzi. There is also a portrait of Leonardo da Vinci by his master, Andrea del Verrocchio, and countless other portraits made by his friends and colleagues.
In 2015, a potential third contemporary depiction of Leonardo da Vinci was identified. A 1505 engraving by Marcantonio Raimondi, titled 'Orpheus Charming the Animals', may portray Leonardo playing a musical instrument called the lira da braccio. The identification was made by Ross Duffin, a music professor at Case Western Reserve University in Cleveland, who published his findings in the magazine 'Cleveland Art'. Duffin compared the engraving's subject, a man in his late middle age with a beard and centrally parted long curls, to a portrait of da Vinci drawn by Francesco Melzi, who joined Leonardo's household as an assistant in 1506. He noted a strong resemblance between the two, particularly in the slight bump in the nose and the ridge above the brow.
Duffin also identified the instrument being played as a lira da braccio, a bowed string instrument that da Vinci was known to have played. This identification contradicted the previous assumption that the man in the engraving was Orpheus, a musician in Greek mythology, who was often depicted with a lyre.
The question remains as to how Marcantonio Raimondi and Leonardo da Vinci may have met. Duffin proposed several theories, including that they could have crossed paths in Milan in 1506-1507 during a production of "Orfeo," an opera based on the Orpheus myth, in which Leonardo himself may have played Orpheus. Another possibility is that they met in 1509 when Leonardo visited Florence, or that they never met and Raimondi used a portrait as a reference for the engraving.
Martin Kemp, an emeritus professor of art history at Oxford University, supported Duffin's findings, stating that they "stand some chance of being right." However, he acknowledged the challenges of time and place, noting that Raimondi was working in Bologna early in his career, making a direct meeting between the two men unlikely.
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Frequently asked questions
It is believed that there is only one surviving self-portrait by Leonardo da Vinci, created in 1512 using red chalk. However, there are a few other works that may be self-portraits, including a 1471 painting of Gabriel and a 1505 engraving by Marcantonio Raimondi.
The self-portrait depicts an elderly man with long, wavy hair and a beard. It measures 33.3 x 21.3 cm and showcases Leonardo's mastery of chiaroscuro, the use of light and shadow to create depth.
The only known self-portrait of Leonardo da Vinci is located at the National Gallery of Art in Washington. It is said to be in very poor condition.
