Virgin of the Rocks
Two nearly identical paintings by Leonardo da Vinci of the Virgin and Child.
Leonardo da Vinci painted two nearly identical works titled *The Virgin of the Rocks* (also called *Madonna of the Rocks*). Both depict the Virgin Mary, the infant Jesus, the young John the Baptist, and the angel Uriel in a cavernous, rocky landscape. The earlier version, widely considered the prime painting, is unrestored and displayed at the Louvre in Paris. The other, restored between 2008 and 2010, hangs in London’s National Gallery. Each stands nearly two meters tall and was originally painted in oils on wooden panels, though the Louvre piece has since been transferred to canvas.
The compositions are the same except for a few notable differences, mainly in the angel’s gaze and right hand. Other variations include color, lighting, plant life, and the use of sfumato. Although the commission that produced them is documented, the full histories of both paintings remain unclear, leading to debate over which was painted first. Two additional side panels—each showing an angel playing a musical instrument—were completed by Leonardo’s associates and are also held by the National Gallery in London.
The Louvre version is dated to around 1483–1486 and is accepted by most experts as entirely Leonardo’s work. It is about eight centimeters taller than the London version. The first solid record of this painting places it in the French royal collection in 1625. It is generally believed to have been made for a 1483 commission in Milan, though some theorize Leonardo sold it privately and later painted the London version to fulfill the contract. The painting is regarded as a prime example of Leonardo’s sfumato technique.
The London version is also attributed to Leonardo and dated before 1508. It was long thought to be partly the work of his assistants, but a 2008–2010 restoration led National Gallery conservators to conclude that most of it is by Leonardo’s own hand, though debate continues. Some areas, especially the flowers, suggest collaboration—possibly by assistants Giovanni Ambrogio de Predis or Evangelista. This painting was made for the chapel of the Confraternity of the Immaculate Conception in Milan’s church of San Francesco Maggiore. It was sold by the church, likely in 1781, and definitely by 1785, when Gavin Hamilton bought it and brought it to England. After passing through several collections, the National Gallery acquired it in 1880.
Two angel paintings
- Artist
- Leonardo da Vinci
- Year (Louvre version)
- c. 1483–1486
- Year (London version)
- before 1508
- Medium
- Oil on panel (Louvre version transferred to canvas)
- Dimensions
- Nearly 2 metres (over 6 feet) high
- Location (Louvre version)
- Louvre, Paris
- Location (London version)
- National Gallery, London
Lore & Background
The Louvre Virgin of the Rocks is considered by most art historians to be the earlier of the two and dates from around 1483–1486. Most authorities agree that the work is entirely by Leonardo. It is about 8 cm taller than the London version. The first certain record of this picture dates from 1625, when it was in the French royal collection. It is generally accepted that this painting was produced to fulfill a commission of 1483 in Milan. It is hypothesised that this painting was privately sold by Leonardo and that the London version was painted at a later date to fill the commission.
The London version is also ascribed to Leonardo da Vinci, and ascribed a date before 1508. Originally thought to have been partially painted by Leonardo's assistants, a close inspection during restoration between 2008 and 2010 led conservators to conclude that the greater part of the work is by Leonardo, but debate continues. Parts of the painting, the flowers in particular, indicate collaboration and have led to speculation that the work is entirely by other hands, possibly Leonardo's assistant Giovanni Ambrogio de Predis and perhaps Evangelista. It was painted for the chapel of the Confraternity of the Immaculate Conception, in the church of San Francesco Maggiore in Milan.
Reader's Guide
The Virgin of the Rocks paintings are central to understanding Leonardo da Vinci's development and the complexities of Renaissance patronage. The existence of two nearly identical versions, with documented commission and payment disputes, has fueled art-historical debate about authenticity, dating, and workshop practice. The Louvre version is regarded as a perfect example of Leonardo's sfumato technique. The London version, restored in the early 21st century, revealed underdrawings suggesting a different original composition, possibly an adoration of the infant Jesus. The paintings also highlight the role of assistants like Ambrogio de Predis, who collaborated on the altarpiece. The works' histories—from the Milanese confraternity to French royal collection and English private hands—reflect the movement of art across Europe. Their continued study informs scholarship on Leonardo's methods, the economics of Renaissance art, and the challenges of attribution.
Did You Know?
- The Louvre version has been transferred from its original wooden panel to canvas.
- The London version was restored between 2008 and 2010, revealing a draft of a different painting beneath.
- Two associated paintings of angels playing musical instruments, now in the National Gallery, London, are thought to be by Leonardo's assistants.
- The London version was sold by the church in 1781 or by 1785, and later bought by the National Gallery in 1880 for 9,000 guineas.
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