Cabeça da virgem vista de três-quartos olhando à direita

Leonardo da Vinci Italian

Not on view

Este desenho de beleza lírica é provavelmente um estudo da cabeça da Virgem Maria na pintura de Leonardo intitulada A Virgem e o Menino com Santa Ana, que se encontra no Louvre em Paris, muito semelhante em escala e aparência. O artista usou uma rica combinação de técnicas, esfumaçando os traços de giz preto, giz vermelho e carvão para conseguir uma modelagem sutil com sombras “parecidas com fumaça” (sfumato), tal como ele mesmo descreveu essa técnica em suas notas. A extraordinária leveza atmosférica, a delicada modulação das formas e gradação matizada de luz e das sombras refletem os profundos conhecimentos de Leonardo sobre os fenômenos óticos, com base em suas observações científicas.

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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