The Death of Leonardo da Vinci
On May 2, 1519, the world marked the passing of the great polymath Leonardo da Vinci. Three hundred years later in 1818, Jean-Auguste-Dominique Ingres paid tribute to this event through his reimagined painting “The Death of Leonardo da Vinci” , also known as Francis I Receives the Last Breaths of Leonardo da Vinci. This historical piece captures the poignant moment of Leonardo da Vinci’s passing at the Clos Lucé house in Amboise. Commissioned by Pierre Louis Jean Casimir de Blacas, the French ambassador in Rome, this masterpiece now resides in the Petit Palais in Paris.
The Death of Leonardo da Vinci by Jean Auguste Dominique Ingres (Public Domain via Wikipedia COmmons)
The depiction of Francis I cradling Leonardo da Vinci on his deathbed in Ingres’s painting is a symbolic representation rather than a historical fact. There is no historical evidence to support the claim that Francis I was present at Leonardo da Vinci’s death or cradled his head. It is likely that Ingres used artistic license to convey the idea of Francis I showing reverence for the great artist.
“The Death of Leonardo da Vinci” is an intricate portrayal of the moment when Leonardo da Vinci passed away. The painting draws inspiration from the account of Leonardo’s death in the Lives of Giorgio Vasari. In this depiction, King Francis I of France tenderly embraces the dying artist to receive his last breath, surrounded by other figures such as priests, servants, and the young dauphin Francis of Valois, who solemnly observes the scene. Additionally, a cardinal offers comfort by placing a hand on the dauphin’s shoulder, while a Bible and a small crucifix rest on a table beside Leonardo’s bed. Notably, the likeness of Francis I’s face in the painting is derived from a work by Titian dating back to 1538. This masterful composition captures the solemn atmosphere and the convergence of individuals from different walks of life in the presence of the great polymath’s passing.
Giorgio Vasari: “Life of Leonardo da Vinci”, in Lives of the Most Eminent Painters, Sculptors, and Architects,
Finally, having grown old, he remained ill many months, and, feeling himself near to death, asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and although he could not raise himself well on his feet, supporting himself on the arms of his friends and servants, he was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence, having raised himself to sit upon the bed, giving him an account of his sickness and the circumstances of it, showed withal how much he had offended God and mankind in not having worked at his art as he should have done. Thereupon he was seized by a paroxysm, the messenger of death; for which reason the King having risen and having taken his head, in order to assist him and show him favour, to then end that he might alleviate his pain, his spirit, which was divine, knowing that it could not have any greater honour, expired in the arms of the King, in the seventy figth year of his age.
From Giorgio Vasari: “Life of Leonardo da Vinci”, in Lives of the Most Eminent Painters, Sculptors, and Architects, translated by Gaston DeC. De Vere, (London: Philip Lee Warner, 1912-1914), pp. 89-92, 95-101, 104-105 Source
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