A History of European Art

of this, other artists who saw the work or copies of it were inÀ uenced by it
and tried to emulate Leonardo’s genius. Ŷ

Leonardo da Vinci:

Landscape, 1473, pen and ink drawing, 7 ¾ x 11 ¼” (19.6 x 28.7 cm),

Galleria degli Uf¿ zi, Florence, Italy.

The Last Supper, 1495–98, tempera and oil on plaster, 15 x 29’

(4.6 x 8.8 m), Refectory, Church of Sta. Maria delle Grazie,

Milan, Italy.

Madonna of the Rocks, begun 1483, oil on canvas, 6’ 6 ¼” x 4’

(199 x 122 cm), Musée du Louvre, Paris, France.

Mona Lisa, 1503–06, oil on panel, 30 ¼ x 20 ¾” (77 x 53 cm), Musée

du Louvre, Paris, France.

Domenico Ghirlandaio:

The Last Supper, 1480, fresco, Refectory, Church of the Ognissanti,

Florence, Italy.

Clark, Leonardo da Vinci.

Marani, Leonardo da Vinci.

1. How does Leonardo’s treatment of light and dark inÀ uence his painting?
   Is his technique appropriate for the subject(s) when used?


2. It has been said that the Mona Lisa’s smile is her identifying mark.
   What other personal identi¿ cation marks or symbols have been used
   in paintings? Do you think this is, in fact, an identi¿ cation mark or
   merely coincidental?

Works Discussed

Suggested Reading

Questions to Consider