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Leonardo da Vinci began studying the anatomy of the human body in the late 1470s and may have participated in the first dissections at the University of Padua. His records indicate that he began performing autopsies himself around 1505. [3] By the year 1518, he reported that he had performed a total of thirty autopsies during his lifetime.
Follower of Leonardo da Vinci (could possibly be Salai), Head of the Virgin, between 1508 and 1513, Vienna , Albertina Museum, inv. n° 17613. The drawing was the subject of copies by followers, including one in particular that was sometimes even attributed to the master, and in any case was contemporary with him.
The codex was on view at the Phoenix Art Museum in Phoenix, Arizona, from 24 January 2015 to 12 April 2015 for the exhibition Leonardo Da Vinci's Codex Leicester and the Power of Observation. Its presentation at the Phoenix Art Museum was the first time a work by Leonardo was displayed in Arizona. [ 13 ]
The story of Leda and the Swan was the subject of two compositions by Leonardo da Vinci from perhaps 1503–1510. Neither survive as paintings by Leonardo, but there are a number of drawings for both by him, and copies in oils, especially of the second composition, where Leda stands.
The Death of Leonardo da Vinci, by Ingres, 1818 [u] The 19th century brought a particular admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of ...
The Codex Atlanticus is the largest single collection of drawings and writings (in Italian) by polymath Leonardo da Vinci, containing 1,119 paper leaves (2,238 pages) [a] arranged into 12 leather-bound volumes. [1] Its size and scope has led art historian Carlo Pedretti to recognize it as the most important of Leonardo's manuscripts. [2]
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Leonardo da Vinci, The Virgin and Child with Saint Anne and Saint John the Baptist, known as the Burlington House Cartoon, between 1499 and early 1501 or between 1506 and 1513, London, National Gallery, inv. no. NG6337. Leonardo da Vinci captures the moment when Mary is challenged by her mother and son to accept the latter's sacrifice.