Tête de la Vierge de trois quarts à droite

Leonardo da Vinci Italian

Not on view

Ce dessin merveilleusement lyrique est probablement une étude pour la tête de la Vierge du tableau de De Vinci intitulé La Vierge à l’Enfant avec sainte Anne, conservé au Louvre, à Paris. Elle en est très proche, par l’échelle et par l’apparence. L’artiste a eu recours à une riche combinaison de techniques, estompant délicatement les traits de pierre noire, de sanguine et de fusain pour produire un modelé légèrement ombré, une technique qu’il appela sfumato (c’est-à-dire : enfumé). L’extraordinaire sérénité, la subtile modulation des formes et la gradation nuancée de l’ombre et de la lumière traduisent sa compréhension profonde et scientifique des phénomènes optiques.

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 outline 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 outline 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 outline 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 outline 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 outline in pen and brown ink at upper right (not by Leonardo)

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