Important Notes About Your Painting:
If you have any request to alter your reproduction of The Virgin and Child with St Anne c. 1510, you must email us after placing your order and we'll have an artist contact you. If you have another image of The Virgin and Child with St Anne c. 1510 that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.
Leonardo Da Vinci's The Virgin and Child with St Anne painted around 1510, deals with a theme which had long fascinated the artist.
This figurative reproduction imagines the Madonna and the infant Jesus alongside St Anne. Christ, attempting to restrain a sacrificial lamb, was painted on commission from the Church of Santissima Annunziata in Florence to adorn the altarpiece. A serene, yet paradoxically urgent painting, the image bustles with energy and passion, as the Biblical figures interact in a somewhat puzzling manner. Upon close inspection the Virgin Mary, who seats the infant Jesus on her lap, is herself sitting on St Anne's lap. This rare and rather idiosyncratic representation must have been purely to the artist's taste, perhaps for symbolic reasons unfortunately now lost to history. The Virgin and Child with St Anne is housed in the Louvre yet a second study exists in the National Gallery in London which differs in many respects from the Louvre version, most importantly revealing the under-sketches beneath the thinly-applied paint.
Undoubtedly a work of supreme skill and craft, as with many of Da Vinci's works an exciting dimension adds mystery and allure to the work. In 2008 a Louvre historian discovered the faint outlines of sketches on the reverse of the painting. Highly sophisticated and non-invasive technology revealed a "7-by-4 inch drawing of a horse's head" which bore a stark resemblance to sketches of horses that Da Vinci had been preparing for his fresco of The Battle of Anghiari. Also revealed was a second sketch 6 1?2 inch-by-4 inch reproduction of half a skull, and a third showing the infant Jesus restraining a lamb. The excited and hungry creative appetite of the artist is revealed in his consistent and rigorous preparatory work for each painting, demonstrating a creative energy and ingenuity rarely matched in human history.