List of works by Leonardo da Vinci

The Last Supper

This is a list of paintings attributed to Leonardo da Vinci, (baptised Leonardo di ser Piero da Vinci) ( pronunciation ), (April 15, 1452 – May 2, 1519), one of the leading artists of the High Renaissance. Fifteen works are generally attributed either in whole or in large part to him, most of them paintings on panel but including a mural, a large drawing on paper and two works in the early stages of preparation. A further six paintings are disputed, there are four recently attributed works, and two are copies of lost work. None of Leonardo's paintings are signed, and this list draws on the opinions of various scholars.

The small number of surviving paintings is due to Leonardo's constant and frequently disastrous experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists rivaled only by that of his contemporary, Michelangelo.

Major extant works

Image (sort by size)	Details (sort by earliest likely date)	Attribution status	Location (sort by country)
&10000000000021266000000	&10000000000000001000000 The Annunciation Oil on panel 98 × 217 cm Dating c. 1473–4 (Kemp 2011) c. 1472–6 (Syson 2011)	&10000000000000002000000 Almost universally accepted Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.	&Italy, Florence Uffizi Florence
&10000000000026727000000	&10000000000000004000000 The Baptism of Christ Oil on wood 177 × 151 cm Dating c. 1476 (Kemp 2011)	&10000000000000004000000 Verrocchio and Leonardo Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.	&Italy, Florence Uffizi Florence
&10000000000002945000000	&10000000000000003000000 Madonna of the Carnation Oil on panel 62 × 47.5 cm Dating c. 1475–6 (Kemp 2011) c. 1477–8 (Syson 2011)	&10000000000000004000000 Generally accepted It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.	&Germany Alte Pinakothek Munich
&10000000000001424000000	&10000000000000002000000 Ginevra de' Benci Oil on wood 38.8 × 36.7 cm, 15.3 × 14.4 in Dating c. 1476–8 (Kemp 2011) c. 1474/8 (Syson 2011)	&10000000000000003000000 Generally accepted The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.	&United States National Gallery of Art Washington, D.C.
&10000000000001634000000	&10000000000000005000000 Benois Madonna Oil on canvas 49.5 × 33 cm Dating c. 1479–80 (Kemp 2011) c. 1481 onwards (Syson 2011)	&10000000000000004000000 Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.	&Russia Hermitage Museum Saint Petersburg
&10000000000060000000000	&10000000000000006000000 The Adoration of the Magi Underpainting on panel 240 × 250 cm, 96 × 97 in Dating c. 1479–81 (Kemp 2011) c. 1480–2 (Syson 2011)	&10000000000000001000000 Universally accepted	&Italy, Florence Uffizi Florence
&10000000000007725000000	&10000000000000007000000 St. Jerome in the Wilderness Tempera and oil on panel 103 × 75 cm, 41 × 30 in Dating c. 1480–2 (Kemp 2011) c. 1488–90 (Syson 2011)	&10000000000000001000000 Universally accepted	&Vatican City Vatican Museums
&10000000000001386000000	&10000000000000008000000 Madonna Litta Oil on canvas (transferred from panel) 42 × 33 cm Dating c. 1481–97 (Kemp 2011) c. 1491–5 (Syson 2011)	&10000000000000007000000 Generally accepted Thought to be by the hand of Leonardo and a pupil, Marco d'Oggiono	&Russia Hermitage Museum Saint Petersburg
&10000000000024278000000	&10000000000000009000000 Virgin of the Rocks Oil on panel (transferred to canvas) 199 × 122 cm, 78.3 × 48.0 in Dating 1483–c. 1490 (Kemp 2011) 1483–c. 1485 (Syson 2011)	&10000000000000001000000 Universally accepted Considered by most historians to be the earlier of two versions	&France Louvre Paris
&10000000000001440000000	&10000000000000010000000 Portrait of a Musician Oil on wood panel 45 × 32 cm Dating c. 1485 (Kemp 2011) c. 1486–7 (Syson 2011)	&10000000000000006000000 Generally accepted	&Italy, Milan Pinacoteca Ambrosiana Milan
&10000000000002106000000	&10000000000000011000000 Lady with an Ermine Oil on wood panel 54 × 39 cm Dating c. 1490 (Kemp 2011) c. 1489–90 (Syson 2011)	&10000000000000003000000 Generally accepted This painting has been subject to continued disagreement since it was first published as a Leonardo in 1889. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting. The subject has been identified as Cecilia Gallerani.	&Poland Czartoryski Museum Kraków
&10000000000022740000000	&10000000000000012000000 Virgin of the Rocks Oil on panel 189.5 × 120 cm, 74.6 × 47.25 in Dating c. 1495–1508 (Kemp 2011) c. 1491/2–9 and 1506–8 (Syson 2011)	&10000000000000004000000 Almost universally accepted Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others. Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.	&United Kingdom National Gallery London
&10000000000404800000000	&10000000000000013000000 The Last Supper tempera on gesso, pitch and mastic 460 × 880 cm, 181 × 346 in Dating c. 1495–8 (Kemp 2011) 1492–7/8 (Syson 2011)	&10000000000000001000000 Universally accepted	&Italy, Milan Convent of Santa Maria delle Grazie Milan
&10000000000002728000000	&10000000000000014000000 La belle ferronnière Oil on wood 62 × 44 cm Dating c. 1496–7 (Kemp 2011) c. 1493–4 (Syson 2011)	&10000000000000006000000 Generally accepted	&France Louvre Paris
&10000000000500000000000	&10000000000000015000000 Sala delle Asse decoration Fresco Dating c. 1498–9 (Kemp 2011) c. 1498 (Syson 2011)	&10000000000000008000000	&Italy, Milan Castello Sforzesco Milan
&10000000000014910000000	&10000000000000016000000 The Virgin and Child with St Anne and St John the Baptist Charcoal, black and white chalk on tinted paper 142 × 105 cm, 55.7 × 41.2 in Dating c. 1499–1500 (Syson 2011) c. 1506–8 (Chapman 2010)	&10000000000000001000000 Universally accepted	&United Kingdom National Gallery London
&10000000000002898000000	&10000000000000017000000 Portrait of Isabella d'Este Black and red chalk, yellow pastel chalk on paper 63 × 46 cm Dating c. 1499–1500 (Syson 2011)	&10000000000000001000000 Universally accepted	&France Louvre Paris
&10000000000002978239999	&10000000000000018000000 Salvator Mundi Oil on panel 45.4 cm × 65.6 cm, 25.8 in × 17.9 in Dating c. 1504–7 (Kemp 2011) c. 1499 onwards (Syson 2011)	&10000000000000004000000 Generally accepted Discovered to be Leonardo's lost painting, rather than a later copy, during restoration in the 2000s. Pentimenti (changes to the composition which would only be found in an original work, rather than a copy) were found in the thumb of Christ's right hand and elsewhere.	Private collection New York City &United States of America
&10000000000018816000000	&10000000000000019000000 The Virgin and Child with St. Anne Oil on panel 168 × 112 cm, 66.1 × 44.1 in Dating c. 1508–17 (Kemp 2011) c. 1501 onwards (Syson 2011)	&10000000000000001000000 Universally accepted	&France Louvre Paris
&10000000000004070000000	&10000000000000020000000 Mona Lisa or La Gioconda Oil on cottonwood 76.8 × 53.0 cm, 30.2 × 20.9 in Dating c. 1503–16 (Kemp 2011) c. 1502 onwards (Syson 2011)	&10000000000000001000000 Universally accepted	&France Louvre Paris
&10000000000000518000000	&10000000000000020000000 Female Head or La Scapigliata c. 1508 Earth, amber and white lead on panel 24.7 ×21 cm	&10000000000000001000000 Universally accepted	&Italy Galleria Nazionale Parma
&10000000000003933000000	&10000000000000021000000 St. John the Baptist Oil on walnut wood 69 × 57 cm, 27.2 × 22.4 in Dating c. 1508–16 (Kemp 2011)	&10000000000000004000000 Generally accepted "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.	&France Louvre Paris

Disputed attributions

Image	Details	Notes	Location
	Tobias and the Angel Egg tempera on poplar 83.6 × 66 cm Dating c. 1473 (Kemp 2011)	A painting by Verrocchio while Leonardo was in his workshop. Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.	National Gallery London &United Kingdom
&10000000000000201000000	&10000000000000003000000 The Dreyfus Madonna c. 1475–1480 Oil on panel 15.7 × 12.8 cm, 6.13 × 5 in	&10000000000000007000000 Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio. Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).	National Gallery of Art Washington, D.C. &United States
	Young Girl in Profile in Renaissance Dress, or Profile of a Young Fiancée	bodycolour (pastel) on vellum; identified as a Leonardo by Martin Kemp and confirmed using the evidence of a fingerprint. Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question.	Private collection
	Portrait of a Lady in Profile c. 1493–5	Generally attributed to Ambrogio de Predis. The face is thought to show the hand of Leonardo.	Pinacoteca Ambrosiana Milan
	The Holy Infants Embracing c. 1486–1490	Several versions in private collections.
&10000000000001827000000	&10000000000000018000000 Madonna of the Yarnwinder c. 1501 Oil on canvas 50.2 × 36.4 cm	&10000000000000007000000 Disputed Two versions exist, apparently by different hands, perhaps copies of a lost work that is described by Leonardo. The best known, that belonging to the estate of the Duke of Buccleuch, was stolen in 2003, and recovered in 2007.	&United Kingdom and United States Private collection Private collection
&10000000000020355000000	&10000000000000022000000 Bacchus Oil on walnut panel transferred to canvas 177 × 115 cm Dating c. 1513–16 (Kemp 2011)	&10000000000000007000000 Disputed Generally considered to be a workshop copy of a drawing.	&France Louvre Paris

Lost works

Image	Details	Notes
	Medusa	A juvenile work described by Giorgio Vasari.
	Angel of the Annunciation c. 1503	The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing left, known as "Th Incarnate Angel" is a satirical copy, perhaps by Salai, in the Kunstmuseum Basel.
	The Battle of Anghiari 1505	Peter Paul Rubens, copy of Leonardo's The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre The remains of Leonardo's fresco have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.
	Leda and the Swan 1508	There are nine known copies of the painting, including: Cesare da Sesto, Leda and the Swan (pictured). Oil on wood, 69.5 x 73.7 cm. Wilton House, Wiltshire, United Kingdom Anonymous, Leda and the Swan. Tempera on wood, 115 x 86 cm. Galleria Borghese, Rome, Italy

Some recent attributions

Image	Details	Attribution status	Location
	Madonna and Child with St Joseph or Adoration of the Christ Child Tempera on panel Diameter 87 cm	Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.	Galleria Borghese Rome
	Mary Magdalene	Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes. Carlo Pedretti's attribution of this painting is not accepted by other scholars, eg Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.	Private collection
	Christ Carrying the Cross c. 1500 Oil on poplar	Previously attributed by Sotheby's to Gian-Francesco de Maineri. Attributed to Leonardo by its present owner. Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes Magazine, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."	Private collection San Francisco &United States
	Lucan Portrait of Leonardo	Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with the Ermine. Alternately attributed to Cristofano dell'Altissimo.

Manuscripts

Title	Dates	Pages	Notes	Location
Codex Atlanticus	1478–1519	1,119		Pinacoteca Ambrosiana, Milan
Codex Arundel	1480–1518	283		British Library, London
Codex Trivulzianus	c. 1487–90	55 (originally 62)		Biblioteca Trivulziana, Castello Sforzesco, Milan
Codex on the Flight of Birds	c. 1505	18		Biblioteca Reale, Turin
Codex Leicester	1506–1510	72		Private collection

Bibliography

• Chapman, Hugo; Faietti, Marzia (2010). Fra Angelico to Leonardo: Italian Renaissance Drawings. London: British Museum Press. ISBN 978-0-7141-2667-8. 
• Kemp, Martin (2011). Leonardo: Revised edition. Oxford: Oxford University Press 
• Syson, Luke; Larry Keith, Arturo Galansino, Antoni Mazzotta, Scott Nethersole and Per Rumberg (2011). Leonardo da Vinci: Painter at the Court of Milan. London: National Gallery 

See also

• Leonardo da Vinci
• Science and inventions of Leonardo da Vinci
• Cultural depictions of Leonardo da Vinci
• Leonardo da Vinci's personal life

External links

• Leonardo da Vinci and the Virgin of the Rocks, A different point of view
• Web Gallery of Leonardo Paintings
• Drawings of Leonardo da Vinci