Presentation of Leonardo da Vinci’s Head of Christ in Venice Drawing: An Enigmatic Masterpiece

Presentation: Leonardo’s da Vinci Head of Christ drawing

We present the Head of Christ drawing from Venice, a work by Leonardo da Vinci held at the Gallerie dell’Accademia in Venice under inventory number 231, known as Head of Christ and Hand Grasping the Hair. This dramatic drawing depicts a scene from the Passion of Christ and remains the subject of ongoing questions regarding its origin, date, and intended purpose.

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

Presentation of Leonardo da Vinci’s Head of Christ Drawing from Venice: Description and Analysis

Known as Head of Christ and Hand Grasping Hair, this work (116 x 91 mm), is attributed to Leonardo da Vinci. Created between 1490 and 1495 (or as early as 1488), it was executed in silverpoint on prepared paper. It is now preserved at the Gallerie dell’Accademia in Venice under inventory number 231.

Key Characteristics:

– A shoulder-length portrait (ritratto di spalla) with a dynamic and expressive posture.

– A gaze turned towards the viewer, creating an intense dramatic effect.

– A hand grasping the hair, illustrating a moment from Christ’s Passion.

– Subtle light effects, possibly enhanced by the use of goldpoint.

Historical context and influences

Dating and Connection to the Passion of Christ

• The work is believed to have been created during the period when Leonardo was working on The Last Supper (circa 1490-1495).

• Some historians consider it a preparatory study for a more ambitious project, possibly even a lost painting.

Leonardo’s Influence on Venetian and Milanese Art

• Influence of the Venice Drawing can be seen in Venetian artists such as Giorgione.

• Among Milanese painters, notably Giampietrino and Solario, the posture of Christ shows strong similarities, though the head is oriented to the right, in contrast to the Venice Drawing.

Venice Drawing

Reversed Drawing

The Reversal of the Drawing in Milanese Works

To illustrate this correspondence more clearly, a mirrored version of the Venice Drawing is presented here, allowing the viewer to visually appreciate its connection with Milanese works, particularly Giampietrino’s.

Hypotheses on the origin an function of Leonardo’ Drawing of Christ in Venice

Whether this drawing is an autonomous work or a preparatory study for a lost painting remains uncertain. Kenneth Clark and Pietro Marani have suggested a connection with an original model that circulated in Leonardo’s workshop. This hypothesis is reinforced by the fact that several of the master’s disciples appear to have adopted this posture in their works.

Furthermore, Carlo Pedretti observed that the drawing highlights the muscles of the neck, shoulder, and back, foreshadowing Leonardo’s anatomical studies dated to 1510.

Recto: The muscles of the shoulder. Verso: The superficial anato

Windsor Royal Gallery (RCIN 919001-verso)

Conclusion: A Drawing at the Heart of Debates on Leonardo da Vinci

This drawing remains a major reference due to its expressiveness and refined technique. Its exact role is still debated—whether as a preparatory study, an autonomous work, or a lost model that circulated in Leonardo’s workshop. Its influence can be seen among Milanese painters, particularly Giampietrino, as well as in Venetian art, underscoring its significance in Renaissance history.