• Source: The Death of Leonardo da Vinci

The Death of Leonardo da Vinci or Francis I Receives the Last Breaths of Leonardo da Vinci is an 1818 oil painting by the French artist Jean-Auguste-Dominique Ingres, which shows the Italian artist and inventor Leonardo da Vinci on his deathbed on May 2, 1519, just three weeks before his 67th birthday, with Francis I of France holding his head. It was commissioned by Pierre Louis Jean Casimir de Blacas, the French ambassador in Rome, and is now currently housed in the Petit Palais in Paris. Another version of the painting created c. 1851 is held by the Smith College Museum of Art.




Subject matter



The painting depicts the death of the Italian Renaissance polymath Leonardo da Vinci, which took place in the Clos Lucé house, in Amboise, on May 2, 1519. As a source of inspiration for this painting, Ingres took up the story of the death of the painter present in the Lives of Giorgio Vasari, and this choice is unsurprising, as Ingres admired Nicolas Poussin, which reflects the harmony between French and Italian artistic traditions. Although Giorgio Vasari was aware of how Leonardo da Vinci truly died, he still crafted a false yet vivid account, writing, "To show him favour and to soothe his pain, the king held his head." Ingres was inspired by this scene, seeing it as a subtle symbol of the end of a glorious artistic era. As a modern thinker, he believed that portraying Leonardo's death in this manner offered a more dignified and fitting conclusion, a "fabulous death "showing the great master of Renaissance painting passing away in the embrace of his patron. This painting was not the initial version, as when Ingres presented a painted depiction of Henri IV to Coutan in the 1820s, he also sold him a wash drawing of Leonardo da Vinci. Later, Ingres made several alterations to the original wash drawing, including extending the format horizontally by adding a piece of paper on the left. He also modified the curtain on the right side of the bed and included the figure of a young priest behind it as an afterthought. Additionally, he used a paper cut-out to adjust the hand of the cardinal on the right and made numerous revisions to the figures' contours and the drapery.
This painting serves as a dual tribute, honouring both the great artists of the past and promoting Ultra-Royalist political ideologies.: 121  Much like in Henri IV and The Spanish Ambassador, Ingres emphasizes several key Ultra-Royalist themes in this work: the alliance of the throne and the altar, the significance of royal virtues such as humanity and humility, and the Crown's generosity in supporting the fine arts. : 119 




Composition and analysis


Leonardo's religious interests are symbolized by the draped table, handbell, missal, crucifix, and the monk depicted on the left side of the painting.: 123  A subtle tribute to Leonardo's quest for perfection is found in the small medallion across his chest, the King's Ordre de Saint Michel. This honour, awarded for artistic and scholarly achievement during both the Ancien Régime and the Restoration, also granted its recipients the status of nobility.: 123  The medallion is positioned in the style of a boutonniere, as it was worn in the 19th century.: 126  In this way, Ingres, after Leonardo's death, acknowledges his artistic greatness and elevates him to nobility. : 126 This choice may imply that Ingres believed Leonardo did not receive adequate recognition or reward from his royal patrons during his lifetime.: 126 
The servants and friends that Vasari refers to are visible in the background of the painting. Behind the bed, the shadowy figure of the doctor can be seen, his hands resting motionless on the bed, signalling that his involvement in determining Leonardo's fate has concluded.: 123  The distraught figure to the right of the bed has been identified as Leonardo's wealthy friend and student,Francesco Melzi.: 123  The abruptness of the king's death is conveyed through the tilted chair, showing where he had just leapt from, and his dynamic posture. : 125 The king's affection for Leonardo is hinted at by the absence of gloves and the closeness of his face to Leonardo's.: 125 




See also


List of paintings by Jean-Auguste-Dominique Ingres
Cultural references to Leonardo da Vinci




References

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