Leonardo da Vinci’s Venice Drawing: An Enigmatic Masterpiece
This drawing by Leonardo da Vinci and preserved at the Gallerie dell’Accademia in Venice, is known as Head of Christ and Hand Grasping Hair (No. 231). It depicts a dramatic scene from the Passion of Christ and continues to raise many questions regarding its origin and purpose.
Head of Christ and Hand Grasping Hair, Leonardo da Vinci, Gallerie dell’Accademia, Venice, No. 231
Description and Analysis of the Venice Drawing
• Title: Head of Christ and Hand Grasping Hair
• Artist: Leonardo da Vinci
• Creation Period: 1490-1495 (or possibly as early as 1488, according to some historians)
• Dimensions: 116 x 91 mm
• Technique: Silverpoint on prepared paper
• Current Location: Gallerie dell’Accademia, Venice (No. 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 drawing 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
• The 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 his 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 and Function of the Drawing
An Independent Drawing or a Preparatory Study?
• Some historians consider this drawing to be a preparatory study for a lost painting.
The Hypothesis of a Lost Model
• Kenneth Clark and Pietro Marani suggested that the Venice Drawing could be linked to an original model that circulated within Leonardo’s workshop.
• Several of Leonardo’s disciples appear to have reused this posture in their works.
A Connection to Anatomical Studies?
• Carlo Pedretti observed that the drawing particularly emphasizes the muscles of the neck, shoulder, and back.
• This study seems to align with Leonardo’s anatomical research from the 1490s to the 1510s.
Windsor Royal Gallery (RCIN 919005)
Conclusion: A Drawing at the Heart of Debates on Leonardo da Vinci
The Venice Drawing remains a fascinating and enigmatic work. Its striking expressiveness and refined technique make it a remarkable study, whose exact origins remain uncertain.
While some historians see it as a preparatory study, others suggest it reflects a lost model that influenced several of Leonardo’s disciples, notably Giampietrino and Solario. Its dissemination beyond the Milanese circle, reaching even Giorgione, highlights its significance in Renaissance art.
More than just a drawing, this piece serves as a valuable testament to the transmission of Leonardo’s models, continuing to enrich research on the master’s work even today.
Photographic credits
– Leonardo da Vinci – Head of Christ and Hand Pulling the Hair (Galleria del Academia Venice N°231) : Public Domain.
– Giorgione – Christ Carrying the Cross (San Rocco, Venice) : ©Scuola Grande di San Rocco Venezia, CC BY-NC-ND 3.0.
– Solario – Christ Carrying the Cross (Private Collection) : Public Domain.
– Giampietrino – Christ Carrying the Cross (National Gallery London) : @National Gallery London.
– Leonardo da Vinci – Anatomical study (Windsor Royal Gallery – RCIN 919005) : Royal Collection Trust/@ His Majesty the King Charles III 2022.