Leonardo da Vinci: The Drawing of the Head of Christ in Venice

A DOUBLE STUDY AT THE HEART OF LEONARDO’S WORK

Christ Venise Léonard Vinci – Christ Venice Leonardo Vinci. Dessin de la Tête du Christ de Venise de Léonard de Vinci. Head of Christ drawing by Leonardo da Vinci.

Head of Christ and Hand Grasping Hair, Leonardo da Vinci, Gallerie dell’Accademia, Venice, No. 231

 

Welcome to this site dedicated to the study of the Head of Christ drawing held at the Accademia in Venice, attributed to Leonardo da Vinci.

This remarkable drawing, executed around 1490–1495, is one of the most powerful testimonies to Leonardo’s exploration of the expression of pain and the inner life of Christ.

Here, it is placed at the center of two rigorous, complementary, and original studies:

1. The Drawing and Christ Carrying the Cross.

2. The Drawing and The Last Supper: the case of Thaddeus.

1. LEONARDO DA VINCI DRAWING AND CHRIST CARRYING THE CROSS

🔊 Audio summary (5 min)

This first study explores the influence of the drawing on several works from the Lombard and Venetian Renaissance. It highlights a close connection between the Drawing and the Christ Carrying the Cross paintings produced by Leonardo’s followers, particularly Giampietrino.

It presents a strong hypothesis: the possible existence of a lost original by Leonardo, or a Leonardo-style cartoon that served as the source for these works.

The analysis is based on a set of stylistic criteria, a detailed comparative study of the figures, and precise digital superimpositions.

Superposition des lignes du Dessin de la Tête du Christ de Léonard de Vinci sur le portrait de Giampietrino

Superimposition: Drawing Outline over Giampietrino’s Budapest Version (Reversed)

2. THE DRAWING AND THE LAST SUPPER: THE CASE OF THADDEUS

🔊 Audio summary (5 min)

In a second phase, the site presents an in-depth study of the figure of Thaddeus in Leonardo’s Last Supper, examined in light of the same drawing.

Based on faithful early copies of the fresco (Giampietrino, Écouen, Tongerlo), the analysis reveals a striking resemblance between the head of Thaddeus and that of Christ in the Venice drawing.

Therefore, this connection opens new perspectives on Leonardo’s working methods: the reuse of facial types, symbolic transpositions, and the circulation of models within his workshop.

Comparaison visuelle entre le Dessin de la Tête du Christ de Léonard de Vinci (à gauche) et l’apôtre Thaddée dans La Cène (copie de Giampietrino, à droite). Un tracé bleu inversé du dessin est superposé sur chaque figure pour souligner les correspondances morphologiques : contours du visage, position des yeux, des sourcils, du nez et de la bouche.

Superimposition: Drawing Outline over Thaddeus (Reversed) in Giampietrino’s Last Supper

DISCOVER ON THIS SITE

– A clear presentation of the Drawing and its historical context;

– Illustrated, well-documented studies (in French, English, and Italian);

– Explanatory audio summaries and videos accompanying each theme;

– Complete studies available to read online or download.