圣母四分之三右侧面头像

Leonardo da Vinci Italian

Not on view

这幅诗意般美丽的素描可能是巴黎卢浮宫所藏达·芬奇油画《圣母子与圣安妮》中圣母玛利亚的头部试作，两者在大小和外观上都十分相似。达·芬奇结合运用了多种创作媒介，轻柔地涂抹开黑粉笔、红粉笔和炭笔的笔触，以实现他在笔记本中描述的一种表现立体感的细腻造影法——“晕涂法”（意大利语：sfumato）。出色的柔和意境、精细的形态转换以及微妙的光影渐变都反映出达·芬奇对视觉现象的深刻理解是建立在科学基础之上的。

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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