The Portrait of Ginevra de' Benci by Leonardo da Vinci, painted around 1474–1478, is one of his earliest surviving portraits and marks a decisive shift in Renaissance portraiture toward psychological presence rather than mere likeness. The sitter, believed to be Ginevra de’ Benci, is shown with an unusual emotional restraint, her distant gaze and cool expression suggesting introspection rather than idealized beauty. Leonardo’s careful modeling of the face through subtle tonal transitions already demonstrates his early interest in naturalism and the study of human anatomy, while the juniper bush behind her functions as a visual pun on her name and possibly as a symbol of chastity. The painting is also notable for its reverse, which bears an emblem combining a wreath and a motto associated with Neoplatonic ideals, pointing to an intellectual and courtly context rather than a simple marital portrait. Today, the work is especially significant as the only painting by Leonardo da Vinci held in the United States, preserved at the National Gallery of Art in Washington, and it offers a rare glimpse into the formation of his lifelong pursuit of capturing the inner life of his subjects.
TitlePortrait of Ginevra de' Benci (Ritratto di Ginevra de' Benci)
ArtistLeonardo da Vinci (Italian polymath of the High Renaissance — painter, draughtsman, sculptor, architect, scientist, anatomist, engineer, inventor; Vinci, Florentine Republic, 15 April 1452 - Amboise, Kingdom of France, 2 May 1519; pupil of Andrea del Verrocchio in Florence c. 1466-1476)
Year of creationc. 1474-1478 (one of Leonardo's earliest known portraits, painted in his mid-twenties in Florence in the studio of Andrea del Verrocchio shortly before his independent career began. The sitter is Ginevra de' Benci, born 1457, daughter of the wealthy Florentine banker Amerigo de' Benci — a friend of Marsilio Ficino and of Leonardo's own family. The portrait was traditionally identified as having been commissioned to mark her marriage in 1474, at the age of sixteen, to the considerably older Florentine cloth merchant Luigi Niccolini, but a more widely accepted modern view links it instead to her platonic admirer the Venetian ambassador to Florence Bernardo Bembo, who was in Florence on diplomatic missions in 1475-1476 and 1478-1480 and who was the centre of an elaborate humanist cult of courtly love around Ginevra, celebrated by Lorenzo de' Medici, Cristoforo Landino and Alessandro Braccesi in verse. Bembo's personal impresa — a wreath of laurel and palm — appears on the reverse of the panel, encircling a sprig of juniper that puns on Ginevra's name [ginepro = juniper] and reappears as the bushy juniper tree silhouetted behind her head on the obverse. The motto VIRTVTEM FORMA DECORAT identifies Ginevra's beauty as the outward sign of her virtue. The portrait was revolutionary: it is the earliest known Italian portrait to set the sitter in a landscape, the earliest to use a three-quarter view turned to the left rather than the standard profile, and the earliest to use the medium of oil paint — newly introduced from the Netherlands — in Florentine portraiture. Leonardo applied the paint with extraordinarily fine layers, modelling the flesh and the misty Tuscan landscape behind by smoothing the wet paint with his fingers, as infrared examination has revealed his fingerprints still embedded in the surface. The picture was first recorded in Florence by the anonymous Gaddiano in c. 1540, then disappears from view until it surfaced in the collection of the Princes of Liechtenstein around 1733, where it remained for over two centuries until its sale to Washington)
Technique/MediumOil and tempera on poplar panel (painted on both sides — the reverse bears a roundel showing a wreath of laurel and palm encircling a sprig of juniper, with the Latin motto VIRTVTEM FORMA DECORAT [Beauty Adorns Virtue] inscribed on a scroll across the centre)
Original dimensions38.1 x 37 cm (the panel was cut down at the bottom, probably in the late 16th or 17th century, removing the sitter's hands and forearms; the original full-length composition is known from a silverpoint study of female hands by Leonardo at Windsor that is generally accepted as a preparatory drawing for the lost lower portion of this portrait)
Collection/MuseumNational Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund, accession 1967.6.1.a; acquired in February 1967 from the Princely Collections of Liechtenstein for approximately $5 million — at the time the highest price ever paid for any painting — making it the only undisputed painting by Leonardo da Vinci in any museum in the Americas)
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I simply love the portrait of the three black cats! - flawless print, elegant frame and quick shipping with sufficient packaging.
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Extremely clear and detailed. Photo is the print with museum grade glass.
You could look at it a hundred times and still notice a different detail each time.
We absolutely love this print! We framed it and displayed it in our sacred space area. Great addition to our decor and a powerful piece of art. Many thanks.
Okay, let me start by saying this is my favorite painting of all time. I love skulls. I am beyond thrilled to own this piece and show it off to all who enter! I cannot believe this was painted in 1533.. It stirs me. 10/10 piece. Easy.
I am attaching two photos of the upper left corner where the crucifix lies hidden in plain sight. I am disappointed that the wrap of the canvas wasn't very tight on this one. Because of the loose wrapping.. you can clearly see that the crucifix is mirrored from the printing job and it kind of ruins that corner of the piece because it is a detail you aren't suppose to notice right away. Unfortunately it sticks out in plain view. I plan to take black paint and just tape off the edge and fill the outer edge so the crucifix has a proper corner to inhabit. Although, I am hesitant to try and alter something so expensive.. Not sure what to do.
Solid as usual. Solid as always. The Last Days of Pompeii is dramatic and moody; just what I wanted. Print quality is sharp, colors are faithful. The artwork is theatrical, and work well on canvas. I'm a history nut and have had a fascination with Pompeii since my teens, so this one had to join my collection. Happy with it.
We made our first purchase from Inspiraggio, The Beheading of St John the Baptist | Caravaggio | 1608.
We absolutely love it. The quality and framing are amazing. It changes the whole room.
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I ordered two paintings from Inspiraggio, and both are of incredible quality and remarkably faithful to the originals. The canvas and frame both feel sturdy, and the level of detail is truly impressive. I’m delighted with my purchases and would definitely order from them again in the future
Very pretty. I knew I had to have 'Vanity' when I saw it. 'The Great Red Dragon...' is... great as well. Both quality prints, really like how they look in my apartment.
It's a masterpiece! It really fits the horror theme of my office room. It scares my wife but that what I was going for. I will definitely order more photos, not just for me but as gifts as well. I already have "the laughing fool" picture on the way. Thank you guys
Very poorly packaged—thin cardboard; I don't know how it survived shipping. The stretcher frame is too weak, leaving the canvas sagging and barely taut; at least one extra crossbar needs to be added to get the tension up to an acceptable standard. Check pictures, description diameters for package was overestimated few cm.