Sandro Botticelli's Oil Paintings
	Sandro Botticelli Museum c. 1445 – May 17, 1510. Italian painter.
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Here are all the paintings of Leonardo Da Vinci 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
1104		Adoration of the Magi	Florence
33468		Adoration of the Magi	mk86 c.1481 Oil and bistre on wood 240x246cm Florence,Galleria degli Uffizi.
40251		Adoration of the Magi	mk156 c.1481 Tempera,oil,vanish and white lead on panel 246x243cm
94722		Bacchus	1510-1515 Type Oil on walnut panel transferred to canvas Dimensions 177 cm x 115 cm (70 in x 45 in) cyf
20096		Bacchus (mk05)	Canvas,69 1/2 x 45 1/2''(177 x 115 cm).Collection of Louis
50879		Cartoon	mk216 Drew this cartoon,a full-scale composition of the Virgin and Child with St Anne and the Infant St John the Baptist.
1122		Christ's Head
48637		Detail of Madonna of the Rocks	mk191 Oil on board
48638		Detail of Madonna of the Rocks	mk191 Flowers oil on the board
48639		Detail of Madonna of the Rocks	mk191 Oil on board
44880		Flower Studies	mk176 c.1505-08
45892		Horses with horsemen	mk178 after 1481 Metallstifizeichnung, with feather and brown India ink reinforced on Prapariertem paper 14.3x12.8cm
94731		John the Baptist	1513-1516 Type Oil on walnut wood Dimensions 69 cm x 57 cm (27.2 in x 22.4 in) cyf
84872		La Belle Ferronniere	Probably before 1750 Medium Oil on canvas cyf
1072		La Gioconda (The Mona Lisa)	1503-06 Musee du Louvre, Paris
40272		Lady with Emine	mk156 1483-1490 Oil on panel 54x39cm
33467		Last Supper	mk86 1495-1498 Oil tempera on plaster 460x880cm Milan,Santa Maria delle Grazie, Refectory
1083		Leda	Galleria Borghesee, Rome
52320		Madonna and Child with a Pomegranate	1472-76 Oil on panel, 15,7 x 12,8 cm
10078		Madonna Benois Madonna with a Flower	1475-1478. Oil on canvas Hermitage, St. Petersburg,Russia
48636		Madonna of the Rocks	mk191 about 1508 oil on board 189.5x120cm
56817		Madonna of the Rocks	mk250 About the year 1485. Oil painting of wood, about 190.5 x 109.2 cm. The Louvre in Paris.
40239		Madonna with a Flower	mk156 1478 Oil on canvas 49.5x33cm
40280		Mona Lisa	mk156 c.1503-1506 Oil on poplar panel 77x53cm
55904		Mona lisa	1503 , oil on wood panel , 30.375x20.875 in ,77x53 cm, louvre,paris,france
45583		Pod of cherry and forest strawberry	mk186 1487-89 Paris institute de France
20962		Portrait of a Lady at the Court of Milan (san05)	Wood 25 x 17 1/2''(63 x 45 cm)Collection of Louis XIV INV 778 (MN)
1079		Portrait of a Musician	Pinacoteca Ambrosiana, Milan
1127		Portrait of Cecilia Gallarani	1485 Czartoryski Museum, Cracow
1093		Portrait of Ginerva de'Benci	1474 National Gallery, Washington DC
1095		Portrait of Ginerva de'Benci-u
88664		Portrait of Ginevra de' Benci	between 1474(1474) and 1478(1478) Medium Oil on wood cyf
20958		Portrait of Mona Lisa,La Gioconda (mk05)	1503-1506 Wood 30 1/4 x 21''(77 x 53 cm)The subject is thought to be the wife of a Florentine,Francesco del Giocondo Cut at the sides,losing pillars framing a window,which are now barely visible.Entered the Louvre about 1519 INV 779 (MN)
45845		Regisol	mk178 1490 pen-and-ink drawings 2.9x3.6cm
52323		Reverse side of the portrait of Ginevra de' Benci	1474-46 Oil on wood, 38,8 x 36,7 cm
1086		Saint John the Baptist	Musee du Louvre, Paris
63028		Studies for a Nativity	193 x 162 mm Metropolitan Museum of Art, New York Leonardo left hundreds of notebooks filled with drawings in which he explored ideas, compositions, or inventions. His curiosity led him to sketch and puzzle out diverse subjects, such as running water, growing plants, and human anatomy. The series of sketches on this sheet show Leonardo exploring a theme that would later emerge as the Virgin of the Rocks, in which the Virgin kneels over the infant Jesus, raising her right hand in benediction. Artist: LEONARDO da Vinci Painting Title: Studies for a Nativity , 1451-1500 Painting Style: Italian , graphics Type: study
62436		Study for a kneeling Leda	1503-07 Black chalk, pen and ink on paper, 126 x 109 cm Museum Boijmans Van Beuningen, Rotterdam Leda, the wife of the king of Sparta, was seduced by Zeus in the form of a swan. She gave birth to two eggs from which hatched Helen, Clytemnestra, Castor and Pollux. This and a second compositional plan in Chatsworth show the kneeling Leda gently embracing the swan. With her right hand she is pointing to the children.
52322		Study for the Trivulzio Equestrian Monument	1508-10 Pen and ink on paper, 280 x 198 mm
52328		Study of a child	c. 1508 Chalk on paper
40234		The Annunciation	mk156 c.1472 Oil and tempera on panel 98x217cm
51691		The Annunciation	nn09 c.1472-75 Oil on wood 98x217cm
10077		The Annunciation d	1472-1475. Oil and tempera on wood. Uffizi Gallery, Florence, Italy
1106		The Annunciation-o	Galleria degli Uffizi, Florence
10075		The Baptism of Christ	1472-1475. Oil and tempera on wood. Uffizi Gallery,Florence
1090		The Battle of Anghiari	Galleria degli Uffizi, Florence
44883		The Battle of Anghiari	mk176 1503-06 Oil on plaster
40265		The Last Supper	mk156 1495-1498 Oil and tempera on stone 460x880cm
1077		The Last Supper-l	1495-98 Fresco Santa Maria dell Grazie, Milan
1101		The Madonna of the Carnation	Pinakothek, Munich
20097		The Virgin and Child with Anne (mk05)	Wood 66 1/4 x 51 1/4\'\'(168 x 130 cm)Entered the Louvre in 1636
40277		The Virgin of the Rocks	mk156 1483-86 Oil on panel 199x122cm
42972		The Virgin of the Rocks	mk170 Cira 1508 Oil on wood 189.5x
86422		The Virgin of the Rocks	1503-1506 Medium Oil on panel Dimensions 189.5 x 120 cm (74.6 x 47.2 in) cyf
1098		Virgin and Child with St Anne	Musee du Louvre, Paris
33454		Virgin and Child with St Anne and St John the Baptist	mk86 c.1495 Charcoal,heightened with white on cardboard 144.5x104cm London,National Gallery
44891		Virgin of the Rocks	mk176 c.1485 Oil on wood 190.5x109.5
21762		Virgin of the Rocks (mk10)	Oil on canvas, 199 x 122 cm Paris,Musee du Louvre

Leonardo Da Vinci

Italian High Renaissance Painter and Inventor, 1452-1519 Florentine Renaissance man, genius, artist in all media, architect, military engineer. Possibly the most brilliantly creative man in European history, he advertised himself, first of all, as a military engineer. In a famous letter dated about 1481 to Ludovico Sforza, of which a copy survives in the Codice Atlantico in Milan, Leonardo asks for employment in that capacity. He had plans for bridges, very light and strong, and plans for destroying those of the enemy. He knew how to cut off water to besieged fortifications, and how to construct bridges, mantlets, scaling ladders, and other instruments. He designed cannon, very convenient and easy of transport, designed to fire small stones, almost in the manner of hail??grape- or case-shot (see ammunition, artillery). He offered cannon of very beautiful and useful shapes, quite different from those in common use and, where it is not possible to employ cannon ?? catapults, mangonels and trabocchi and other engines of wonderful efficacy not in general use. And he said he made armoured cars, safe and unassailable, which will enter the serried ranks of the enemy with their artillery ?? and behind them the infantry will be able to follow quite unharmed, and without any opposition. He also offered to design ships which can resist the fire of all the heaviest cannon, and powder and smoke. The large number of surviving drawings and notes on military art show that Leonardo claims were not without foundation, although most date from after the Sforza letter. Most of the drawings, including giant crossbows (see bows), appear to be improvements on existing machines rather than new inventions. One exception is the drawing of a tank dating from 1485-8 now in the British Museum??a flattened cone, propelled from inside by crankshafts, firing guns. Another design in the British Museum, for a machine with scythes revolving in the horizontal plane, dismembering bodies as it goes, is gruesomely fanciful. Most of the other drawings are in the Codice Atlantico in Milan but some are in the Royal Libraries at Windsor and Turin, in Venice, or the Louvre and the École des Beaux Arts in Paris. Two ingenious machines for continuously firing arrows, machine-gun style, powered by a treadmill are shown in the Codice Atlantico. A number of other sketches of bridges, water pumps, and canals could be for military or civil purposes: dual use technology. Leonardo lived at a time when the first artillery fortifications were appearing and the Codice Atlantico contains sketches of ingenious fortifications combining bastions, round towers, and truncated cones. Models constructed from the drawings and photographed in Calvi works reveal forts which would have looked strikingly modern in the 19th century, and might even feature in science fiction films today. On 18 August 1502 Cesare Borgia appointed Leonardo as his Military Engineer General, although no known building by Leonardo exists. Leonardo was also fascinated by flight. Thirteen pages with drawings for man-powered aeroplanes survive and there is one design for a helicoidal helicopter. Leonardo later realized the inadequacy of the power a man could generate and turned his attention to aerofoils. Had his enormous abilities been concentrated on one thing, he might have invented the modern glider.

All the Sandro Botticelli's Oil Paintings

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