When was Leonardo da Vinci born and died

Born: April 15, 1452 Vinci, Italy Died: May 2, 1519

Amboise, France

Leonardo da Vinci was an Italian painter, sculptor, architect, engineer, and scientist. He was one of the greatest minds of the Italian Renaissance, and his influence on painting was enormous to the following generations.

Leonardo da Vinci was born on April 15, 1452, near the village of Vinci about 25 miles west of Florence. He was the illegitimate (born to unmarried parents) son of Ser Piero da Vinci, a prominent notary (a public official who certifies legal documents) of Florence, and a local woman, Caterina. Not much is known about Leonardo's childhood except that when he was fifteen, his father apprenticed him to Andrea del Verrocchio (1435–1488), the leading artist of Florence and the early Renaissance.

Verrocchio, a sculptor, painter, and goldsmith, was a remarkable craftsman. He had great concern for the quality of execution in expressing the vitality of the human figure. These elements were important in the formation of Leonardo's artistic style. It should be noted that much in Leonardo's approach to art originated from using tradition, rather than rebelling against it.

Leonardo, after completing his apprenticeship, stayed on as an assistant in Verrocchio's shop. His earliest known painting is in Verrocchio's Baptism of Christ (c. 1475). Leonardo executed one of the two angels as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh.

Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not a slightly less skilled version of Verrocchio's manner of painting, but an original approach which changed the surface effects from hard to soft, making the edges less cutting, and increasing the slight changes of light and shade.

About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of spectators, with varied faces, looks at the main group of the Virgin and Child. There is a strong sense of continuing movement. Leonardo placed the Virgin and Child in the center. Traditionally in paintings of this theme they had appeared at one side of the picture, approached by the kings from the other side.

Earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this principle to two others: perspective of clarity (distant objects are less distinct) and perspective of color (distant objects are more muted in color). He wrote about both of these principles in his notebooks.

The Magi alterpiece was left unfinished because Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by masters of the older generation who went to Venice and Rome to execute commissions larger than any available in their native Florence.

Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering. He also produced remarkable machinery for stage set-ups. Both activities point to his intense interest in the laws of motion and propulsion (the movement or push forward), a further aspect of his interest in things and their workings.

Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It makes use of a respected tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in representing nature in dimmed light, which blends together the outlines of separate objects. He once commented that artists should practice drawing at dusk in courtyards with walls painted black.

The other surviving painting of Leonardo's Milanese years is the Last Supper (1495–1497). Instead of using fresco (painting on fresh plaster with special water color paints), the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful. The paint did not stick well to the wall, and within fifty years the scene was reduced to a confused series of spots. What exists today is largely a later reconstruction.

When the Duke of Milan was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and traveled to Mantua.

In 1500 Leonardo returned to Florence, where he was received as a great man. Florentine painters of the generation immediately following Leonardo were excited by his modern methods, with which they were familiar through the unfinished Adoration of the Magi. Leonardo had a powerful effect on the younger group of artists.

Leonardo even served a term as military engineer for Cesare Borgia in 1502, and he completed more projects during his time in Florence than in any other period of his life. In his works of these years, the concentration is mostly on portraying human vitality, as in the Mona Lisa. It is a portrait of a Florentine citizen's young third wife, whose smile is called mysterious because it is in the process of either appearing or disappearing.

Leonardo's great project (begun 1503) was a cavalry battle scene that the city commissioned to adorn the newly built Council Hall of the Palazzo Vecchio. The work is only known today through some rapid rough sketches of the groups of horsemen, careful drawings of single heads of men, and copies of the entire composition. Leonardo began to paint the scene but was called back to Milan before the work was completed. A short time thereafter, the room was remodeled and the fragment was destroyed.

Leonardo was called to Milan in 1506 by the French governor in charge to work on an equestrian statue (a sculpture of a leader riding a horse) project, but he produced no new paintings. Instead he turned more and more to scientific observation. Most of Leonardo's scientific concerns were fairly direct extensions of his interests as a painter, and his research in anatomy (the structure of a living organism) was the most fully developed. Early Renaissance painters had attempted to render the human anatomy with accuracy. Leonardo went far beyond any of them, producing the earliest anatomical drawings still followed today.

Leonardo filled notebooks with data and drawings that reveal his other scientific interests: firearms, the action of water, the flight of birds (leading to designs for human flight), the growth of plants, and geology (the study of earth and its history). Leonardo's interests were not universal, however. Theology (the study of religion), history, and literature did not appeal to him. All his interests were concerned with the processes of action, movement, pressure, and growth. It has been said that his drawings of the human body are less about how bodies are and more about how they work.

In 1513 Leonardo went to Rome, where he remained until 1516. He was much honored, but he was relatively inactive and remarkably aloof (apart) from its rich social and artistic life. He continued to fill his notebooks with scientific entries.

The French king, Francis I (1494–1547), invited Leonardo to his court at Fontainebleau, gave him the title of first painter, architect, and mechanic to the king, and provided him with a country house at Cloux. Leonardo was revered for his knowledge more than for any work he produced in France. He died on May 2, 1519, at Cloux.

Leonardo's influence on younger artists of Milan and Florence was enormous. Among these were Filippino Lippi (1457–1504) and Andrea del Sarto (1486–1531) who were able to absorb and transmit his message rather than merely copy the unimportant aspects of his style.

On a more significant level, Leonardo influenced the two greatest young artists to come in contact with him. Raphael (1483–1520) came to Florence in 1504 at the age of twenty-one, and quickly revealed Leonardo's influence in his portraits and Madonnas. Also, about 1503, Michelangelo (1475–1564) changed from a sculptor of merely grand scale to one whose figures are charged with energy. This may be seen in the contrast between Michelangelo's early David and his later St. Matthew.

From this time on Leonardo influenced, directly or indirectly, all painting. However, most of Leonardo's scientific observations remained unproven until the same questions were again investigated in later centuries.

Clark, Kenneth. Leonardo da Vinci. Rev. ed. New York: Viking, 1988.

Kemp, Martin. Leonardo da Vinci, the Marvellous Works of Nature and Man. Cambridge, MA: Harvard University Press, 1981.

Turner, A. Richard. Inventing Leonardo. Berkeley: University of California Press, 1993.

This year marks the 500th anniversary of Leonardo da Vinci’s death. Widely considered one of the greatest polymaths in human history, Leonardo was an inventor, artist, musician, architect, engineer, anatomist, botanist, geologist, historian and cartographer.

Though his artistic output was small, Leonardo’s impact was great, reflecting his deep knowledge of the body, his extensive studies of light and the human face, and his sfumato (Italian for “smoky”) technique, which allowed for incredibly lifelike images. Leonardo regarded artists as divine apprentices, writing “We, by our arts, may be called the grandsons of God.”

Twenty-first-century scholars at MIT ranked him the sixth most influential person who ever lived. Like Rembrandt and Michelangelo, he is so renowned that he is known by only his first name. Yet despite his fame, there are things about Leonardo that many people today find surprising.

Shady parentage

Leonardo was born out of wedlock on April 15, 1452. His father, Piero, was a wealthy notary, and his mother, Caterina, was a local peasant girl. Although the circumstances of his birth would place Leonardo at a disadvantage in terms of education and inheritance, biographer Walter Isaacson regards it as a terrific stroke of luck. Rather than being expected to become a notary like his father, Leonardo was instead free to develop the full range of his genius. People surmise that it also imbued him with a special sense of urgency to establish his own identity and prove himself.

Physical beauty

Leonardo created some of the world’s most beautiful works of art, including the “Last Supper” and the “Mona Lisa.” In his own day, he was known as an exceptionally attractive person. One of Leonardo’s biographers describes him as a person of “outstanding physical beauty who displayed infinite grace in everything he did.” A contemporary described him as a “well proportioned, graceful, and good-looking man” who “wore a rose-pink tunic” and had “beautiful curling hair, carefully styled, which came down to the middle of his chest.” Leonardo is thought to have entered into long-term and possibly sexual relationships with two of his pupils, both artists in their own right.

From scraps to notebooks

The paintings generally attributed to Leonardo number fewer than 20, while his notebooks contain over 7,000 pages. They’re the best source of knowledge about Leonardo, housed today in locations such as Windsor Castle, the Louvre and the Spanish National Library in Madrid. Their diverse content ranges across drawings – most famously, Vitruvian Man – notes of things he wanted to investigate, scientific and technical diagrams and shopping lists. They comprise perhaps the most remarkable monument to human curiosity and creativity ever produced by a single person. Yet when Leonardo penned them, they were just loose pieces of paper of different types and sizes. His friends bound them into “notebooks” only after his death.

Outsider’s education

As a result of his illegitimacy, Leonardo received a rather rudimentary formal education consisting primarily of business arithmetic. He never attended university and sometimes referred to himself as an “unlettered man.” Yet his lack of formal schooling also freed him from the constraints of tradition, helping to instill in him a determination to question authority and place greater reliance on his own experience than opinions expressed in books. As a result, he became a firsthand observer and experimenter, uninterested in serving as a mouthpiece for the classics.

Prolific procrastinator

Although Leonardo’s mind was extraordinarily fertile, he was also an inveterate procrastinator and even quitter. He frequently took months or years to begin work on commissions, sometimes keeping patrons at bay with lofty pronouncements regarding his creative process. A giant equestrian statue for the duke of Milan, requiring 70 tons of bronze to cast, might have been his grandest work – if it had ever been completed. Yet a decade after the 1482 commission, Leonardo had produced only a clay model which was subsequently destroyed when invading French soldiers used it for target practice.

Rivalrous motivations

Leonardo’s life overlapped those of two other Renaissance giants – Michelangelo and Raphael – but it was Michelangelo who stoked an intense rivalry. The contrast between the two men could hardly have been sharper. Leonardo was elegant and evinced little interest in matters religious, while Michelangelo was deeply pious yet neglectful of his appearance and hygiene. Michelangelo created some of the greatest paintings in history, including the ceiling of the Sistine Chapel, and many considered his “David” the greatest sculpture ever produced, a triumph he lorded over his older rival.

Royal admirer

Soon after King Francis I of France captured Milan in 1516, Leonardo entered his service, spending the last years of his life in a house near the royal residence. When death came to Leonardo on May 2, 1519 at the age of 67, it is said that the king, who loved to listen to Leonardo talk so much that he was hardly ever apart from him, cradled his head as he breathed his last. Years later, reflecting on his friendship with the great man, King Francis said, “No man possessed such a knowledge of painting, sculpture, or architecture as Leonardo, but the same goes for philosophy. He was a great philosopher.”

Skyrocketing value

In November 2017, one of the paintings attributed to Leonardo, “Salvator Mundi” (“Savior of the World”), set the record for the most expensive painting ever sold, fetching US$450 million. Painted in oil on walnut in about 1500, it depicts Jesus offering a benediction with his right hand while holding a crystalline orb that appears to represent the cosmos in his left. The painting had suffered from neglect and poor restorations and was long assumed to be the work of one of Leonardo’s students, selling as recently as 2005 as part of the estate of a Baton Rouge businessman for less than $10,000. Its current whereabouts are unknown.

One of a kind, admired then and now

Just a half-century after Leonardo’s death, the biographer Vasari beautifully summed up his enduring significance:

“In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvelously endowed by heaven with beauty, grace, and talent in such abundance that he leaves other men far behind, all his actions seem inspired, and indeed everything he does clearly comes from God rather than from human skill.”

Five hundred years after Leonardo’s death, these words still ring true.

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