斜め前から見た右向きの聖母マリアの頭部

Leonardo da Vinci Italian

Not on view

この叙情豊かな美しい素描は、サイズと外見が酷似していることから、おそらくダビンチの《聖アンナと聖母子》(ルーヴル美術館蔵)の聖母マリアの頭部の習作だったと思われます。ダビンチは、多様な素材を使い、黒チョーク、赤チョーク、木炭の線を柔らかくぼかすことにより、覚書に書きとめている通り、『煙』(スフマート)のように微妙な陰影で立体感を表現しています。柔らかな雰囲気、造形のわずかな変化、微妙な光と影のグラデーションが見事なこの作品は、光学的事象に対するレオナルドの科学に裏打ちされた深い理解を反映しています。

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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