Technical Bulletin Volume 32, 2011
Recent studies of Verrocchio’s painting technique and workshop practice have implications for our understanding of Leonardo’s. Many aspects of Leonardo’s technique, including his underdrawing procedure and use of monochrome undermodelling, appear to originate with his master. However, since Verrocchio seems to have remained primarily a tempera painter, it is proposed that Leonardo may also have spent time with the Pollaiuolo brothers in order to learn to paint in oils. This article discusses the technique of Leonardo’s earliest works, and also the extent of his contribution to The Baptism of Christ (Uffizi, Florence), which he finished many years after it was begun by Verrocchio. The proposal that Leonardo executed parts of Tobias and the Angel is also considered.
Andrea del Verrocchio, Leonardo da Vinci, Lorenzo di Credi, Antonio and Piero del Pollaiuolo, Pietro Perugino, panel painting, X-radiography, infrared reflectography, underdrawing, tempera painting, oil painting, workshops
Leonardo in Verrocchio’s Workshop: Re-examining the Technical Evidence, Jill Dunkerton (text-only RTF 0.4MB)
To cite this article we suggest using
Dunkerton, J. 'Leonardo in Verrocchio’s Workshop: Re-examining the Technical Evidence'. National Gallery Technical Bulletin Vol 32, pp 4–31.
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