Leonardo da Vinci is a multifaceted figure of the Italian Renaissance who made contributions in the fields of art, science, engineering, and natural studies. Known as a painter, sculptor, engineer, anatomist, architect, mathematician, musician, and inventor, Leonardo combined his curiosity about the workings of nature with an empirical scientific method. Thanks to this interdisciplinary approach, he became a pivotal figure in both art and science and is regarded as one of the strongest representatives of the concept of the “Renaissance man.”

Life and Education

Leonardo was born on 15 April 1452 in the town of Vinci, part of the Republic of Florence. His father, Ser Piero, was a Florentine notary, and his mother, Caterina, was a woman of low social standing. Denied certain privileges such as university education due to his illegitimate birth, he was not constrained in his creativity. During childhood, he developed a habit of closely observing nature.

Around 1469, he entered the workshop of the renowned artist Andrea del Verrocchio in Florence as an apprentice. There, he received foundational training in painting, sculpture, metalwork, architecture, anatomy, and mechanics. It is said that Leonardo painted the angel in Verrocchio’s painting “The Baptism of Christ,” so skillfully that it astonished even his master. In 1482, he entered the service of Duke Ludovico Sforza of Milan, serving both as a court artist and engineer. This position gave him the opportunity to observe the scientific and technological advances of the era firsthand. He left Milan in 1499 following the French occupation of the city. He later worked on various projects in Florence, Rome, and Bologna. In 1516, at the invitation of King Francis I of France, he moved to Amboise and settled at the Château de Clos Lucé, where he died on 2 May 1519.

Artistic Philosophy and Techniques

Leonardo’s artistic philosophy was grounded in deep observation of nature and the nuanced portrayal of human emotion. In his works, he integrated scientific knowledge with artistic creativity. One of his most distinctive features was his use of the sfumato technique, which created soft transitions between colors and surfaces. This allowed him to depict facial contours without sharp lines, endowing figures with a lifelike and realistic appearance. He also employed the chiaroscuro technique to generate dramatic effects through contrasts of light and shadow.

Anatomically informed figure drawings contributed to the naturalism of movement in compositions, while facial expressions, postures, and gazes conveyed psychological tension. His use of perspective created illusions of depth and spatial volume in his paintings. His art reflects not only aesthetic elements but also a philosophical and scientific mode of thought.

Sculpture, Architecture, and Other Talents

In his sculptural works, Leonardo expressed his interest in human anatomy and three-dimensional form. The planned but unfinished bronze equestrian statue in Milan demonstrates his mastery in sculpture. In architecture, he produced designs for ideal city plans, circular churches, and multifunctional structures. His multi-layered urban models, developed in response to plague outbreaks, were remarkably advanced for his time. He also studied sound, water, plant morphology, and geology, leaving behind numerous observations and drawings on these subjects.

Inventions and Mechanical Designs

Leonardo produced numerous designs for mechanical devices. His notebooks contain drawings of flying machines resembling helicopters, parachutes, diving suits, automatic weapons, and armored vehicles. He also developed projects related to engineering applications such as bridges, canal systems, and hydraulic machines. Although most of these projects were never built, they are regarded as evidence of his technical imagination and empirical approach.

Major Artworks

The Last Supper (Il Cenacolo / The Last Supper, 1495–1498)

This mural, painted on the refectory wall of the Santa Maria delle Grazie Monastery in Milan, depicts a key theme in Christian iconography: the moment when Jesus announces that one of his apostles will betray him. Each apostle’s reaction is rendered with individual emotional expression. The use of central perspective emphasizes spatial depth and the arrangement of figures on the scene.

Mona Lisa (La Gioconda, 1503–1506)

This painting, displayed at the Louvre Museum in Paris, is Leonardo’s most famous portrait. Although the identity of the sitter is not certain, the prevailing view identifies her as Lisa Gherardini, a Florentine woman. The work is a classic example of the sfumato technique. The model’s enigmatic expression, indirect gaze, and the detailed landscape background combine to give the painting a sense of depth and mystery.

Vitruvian Man (Vitruvian Man, 1490)

This drawing attempts to relate the proportions of the human body to geometric forms. Inspired by the writings of the ancient Roman architect Vitruvius, this image reflects Leonardo’s interest in anatomy and mathematical ratios. It is a symbolic representation of the union of art and science.

The Virgin and Child with Saint Anne (The Virgin and Child with Saint Anne, 1503–1519)

This painting from Leonardo’s late period is a masterfully balanced composition of three figures. Mary sits on the lap of her mother, Saint Anne, while the infant Jesus strokes a lamb. This three-generational structure allegorically explores themes of human love and sacrifice. A strong emotional bond is established through the figures’ physical contact and gazes.

Virgin of the Rocks (Virgin of the Rocks, 1483–1486 / 1495–1508)

There are two distinct versions of this theme. Both depict the Virgin Mary, the infant Jesus, the young John the Baptist, and an angel. The figures are set against a dramatic rocky landscape. The composition draws attention through its detailed rendering of natural elements, illustrating how Leonardo integrated his observations of nature into artistic creation.

Benois Madonna (1478–1480)

This painting, one of Leonardo’s early works, depicts Mary offering a flower to the infant Jesus. There is a warm interaction between the figures. The maternal expression on Mary’s face and the child’s interest in nature reveal Leonardo’s emphasis on emotional expression.

Adoration of the Magi (Adoration of the Magi, 1481, unfinished)

One of Leonardo’s large-scale unfinished works. The wise men gathered around Mary and the infant Jesus express a range of emotional states within a complex composition. The positions of the figures, architectural ruins, and horse forms create a layered narrative. The perspective lines in the painting direct all gazes toward the central figures.

Notebooks and Manuscripts

Leonardo left behind approximately 13,000 pages of handwritten notes and drawings. These documents cover anatomy, geometry, physics, botany, zoology, engineering, art theory, and numerous observations. Among his most famous notebooks are the Codex Atlanticus, the Codex Arundel, and the Codex Leicester.

He wrote most of his notes not only using his own unique shorthand system but also employing a technique known as mirror writing, in which he wrote from right to left and reversed the letters. The exact purpose of this writing style remains uncertain. Some speculate he sought to keep his knowledge secret; others suggest he wished to conceal his scientific ideas from the Catholic Church; still others believe he did so to prevent ink smudging, as he was left-handed. Contemporary sources confirm that Leonardo wrote and drew with his left hand.

Mirror writing is regarded not merely as a technical preference but as a barrier to accessing his notes. As a result, his notebooks today constitute an important subject of study for researchers, both in terms of content and form.

Legacy and Influence

Leonardo da Vinci’s work has influenced not only the field of art but also disciplines such as engineering, anatomy, urban planning, hydrology, and aviation. His empirical and holistic approach serves as a model for today’s interdisciplinary research. His artworks are exhibited today in major museums such as the Louvre, the Uffizi Gallery, and the National Gallery. His notebooks remain foundational sources in the study of the history of science, art, and technology.