This is a list of paintings attributed to Leonardo da Vinci, (baptised Leonardo di ser Piero da Vinci) (April 15, 1452 – May 2, 1519), an Italian polymath. Fifteen paintings are generally attributed either in whole or in large part to Leonardo by most art historians. This number is made up principally of paintings on panel but includes a mural, a large drawing on paper and two works in the early stages of preparation. There are a further six paintings whose attribution is disputed, four recently attributed works, and two copies of lost work. None of Leonardo's paintings are signed, and this list relies upon an analysis of the opinions of various scholars.

Born as the illegitimate son of a notary, Piero da Vinci, and a peasant girl, Caterina, at Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, spending his final years in France at the home given to him by King François I. While Leonardo has been described as the archetype of the "Renaissance man", he has always been renowned primarily as a painter and two of his works, the Mona Lisa and The Last Supper occupy unique positions as the most famous, most reproduced and most parodied portrait and religious painting of all time. In addition to his painting, Leonardo was a scientist, mathematician, engineer, inventor, anatomist, sculptor, architect, botanist, musician and writer. His small number of surviving paintings is due to his constant and frequently disastrous experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists only rivalled by that of his contemporary, Michelangelo.

Entirely by Leonardo

The authorship of these paintings and drawings is accepted universally.

Image	Title	Year	Technique	Dimensions	Current location	Notes
	The Last Supper	1495–1498	tempera on gesso, pitch and mastic	460 × 880 cm, 181 × 346 in	Convent of Sta. Maria delle Grazie, Milan, Italy
	Mona Lisa or La Gioconda	c. 1503–1506	Oil on cottonwood	76.8 × 53.0 cm, 30.2 × 20.9 in	Louvre, Paris, France
	Adoration of the Magi	1481	Underpainting on panel	240 × 250 cm, 96 × 97 in	Uffizi, Florence, Italy	Unfinished
	The Virgin and Child with St. Anne	c. 1510	Oil on panel	168 × 112 cm, 66.1 × 44.1 in	Louvre, Paris, France
	Virgin of the Rocks	1483–1486	Oil on panel (transferred to canvas)	199 × 122 cm, 78.3 × 48.0 in	Louvre, Paris, France	Considered by most historians to be the earlier of two versions
	The Virgin and Child with St. Anne and St. John the Baptist	c. 1499–1500	Charcoal, black and white chalk on tinted paper	142 × 105 cm, 55.7 × 41.2 in	National Gallery, London, UK
	St. Jerome in the Wilderness	c. 1480	Tempera and oil on panel	103 × 75 cm, 41 × 30 in	Apostolic Palace, Vatican City	Unfinished

Leonardo with other hands

Image	Title	Year	Technique	Dimensions	Current location	Notes
	The Baptism of Christ	1472–1475	Oil on wood	177 × 151 cm	Uffizi, Florence, Italy	Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted the background landscape and the torso of Christ. One of Leonardo's earliest extant works, accepted by Guthman, McCurdy, Wasserman and others.
	Virgin of the Rocks	1495–1508	Oil on panel	189.5 × 120 cm, 74.6 × 47.25 in	National Gallery, London, UK	Generally accepted as postdating the version in the Louvre, with collaboration of de Predis and perhaps others. While the date is not universally agreed, the collaboration of Leonardo's workshop is.

Accepted attributions

Image	Title	Year	Technique	Dimensions	Current location	Notes
	Annunciation	c. 1472–1475	Oil on panel	98 × 217 cm	Uffizi, Florence, Italy	Generally thought to be the earliest extant work entirely by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo.
	Benois Madonna	1478	Oil on canvas	49.5 × 33 cm	Hermitage Museum, Saint Petersburg, Russia	Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.
	Madonna of the Carnation	1478–1480	Oil on panel	62 × 47.5 cm	Alte Pinakothek, Munich	It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.
	St. John the Baptist	1513–1516	Oil on walnut wood	69 × 57 cm, 27.2 × 22.4 in	Louvre, Paris	"Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.

Mutually dependent attributions

These two paintings are almost certainly by the same artist, generally accepted to be Leonardo, but not without critics.

Image	Title	Year	Technique	Dimensions	Current location	Notes
	Ginevra de' Benci	c. 1476	Oil on wood	38.8 × 36.7 cm, 15.3 × 14.4 in	National Gallery of Art, Washington, D.C., USA	Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.
	Lady with an Ermine	1485	Oil on wood panel	54 × 39 cm	Czartoryski Museum, Kraków	This painting has been subject to continued disagreement since it was first published as a Leonardo in 1889. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting.Id as Cecilia Gallerani

Disputed

Of the following paintings, the first two are cited by Angela Ottino della Chiesa as having more general acceptance than the others. All have been claimed at some time to be Leonardos.

Image	Title	Year	Technique	Dimensions	Current location	Notes
	La Belle Ferronière	1490–1496	Oil on wood	62 × 44 cm	Louvre, Paris	Possibly Lucrezia Crivelli
	Portrait of a Musician	1490	Oil on wood panel	45 × 32 cm	Pinacoteca Ambrosiana, Milan	Possibly Franchinus Gaffurius
	Madonna Litta	c. 1490	Oil on canvas (transferred from panel)	42 × 33 cm	Hermitage Museum, Saint Petersburg	Thought perhaps to be by Marco d'Oggiono
	Madonna of the Yarnwinder	c. 1501	Oil on canvas	50.2 × 36.4 cm	Private collection, New York	Three versions exist, apparently by different hands, perhaps copies of a lost work that is described by Leonardo. The best known, that belonging to the estate of the Duke of Buccleuch, was stolen in 2003, and recovered in 2007.
	The Dreyfus Madonna	c. 1475–1480	Oil on panel	16.5 × 13.4 cm		Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).
	Bacchus	1510–1515	Oil on walnut panel transferred to canvas	177 × 115 cm	Louvre, Paris	Generally considered to be a workshop copy of a drawing.

Recent attribution

Image	Title	Year	Technique	Dimensions	Current location	Notes
	The Holy Infants Embracing	c. 1486–1490			Several versions in private collections.
	Madonna and Child with St Joseph				Borghese Gallery	Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.
	Mary Magdalene					Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes. Carlo Pedretti's attribution of this painting is not accepted by other scholars, eg Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.
	Christ Carrying the Cross	c. 1500	Oil on poplar		Private collection	Attribution by Carlo Pedretti, based on fingerprints and the similarity of the tormentors of Christ to some of Leonardo's grotesque drawings.

Known only as a copy

Image	Title	Year	Technique	Dimensions	Current location	Notes
	Leda and the Swan	1508			Only copies survive—best-known example in Galleria Borghese, Rome, Italy. Another is in Wilton House, England. This copy is by Cesare Cesto.
	The Battle of Anghiari	1505			The remains have been discovered in the Hall of Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence. This copy is by Peter Paul Rubens.

References