Der Kopf der Jungfrau in Dreiviertelansicht nach rechts gewandt

Leonardo da Vinci Italian

Not on view

Diese wundervoll poetische Zeichnung ist wahrscheinlich eine Studie für den Kopf der Jungfrau Maria in Leonardos Gemälde Jungfrau und Kinde mit der Heiligen Anne aus dem im Pariser Louvre, zu dem es von Maßstab und Aussehen her passt. Der Künstler verwendete eine umfangreiche Kombination verschiedener Medien und erreichte durch sanftes Verwischen der schwarzen und roten Kreide und des Kohlestifts eine fein schattierte „rauchartige" (sfumato) Modellierung, wie er die Technik in seinen Notizen beschrieb. Die außergewöhnliche atmosphärische Weichheit, die subtile Modulation der Form und die nuancierte Staffelung von Licht und Schatten spiegeln Leonardos profundes und wissenschaftlich begründetes Verständnis optischer Phänomene wider.

The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)

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The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci (Italian, Vinci 1452–1519 Amboise), Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)

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