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 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
ChasingART 
Fascinating painting, Rebecca.
Religion, being the demanded obligation crux of art during Leonardo’s time, had long since evolved away by the 1800’s. However, that reality is captured in this paining both in look, style and theme.
Thank you for sharing this work of art. It must be magnificent in real life!
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I am so pleased that you stopped by, Resa. Your comments prompted me to go deeper into the history of this painting. I just found out that there was an earlier depiction of the death of Leonardo da Vinci, which is remarkably like the one painted by Jean August Dominique Ingres. It was called “Allegory of Painting (the Death of Leonardo da Vinci) by Giuseppe Cades pained 1780 – 1799, which now raises a few more questions. We know that Ingres painted his in 1818. Did he copy Cades? And why did the French ambassador in Rome ask for this painting?
Cades painting is at the Met: https://www.metmuseum.org/art/collection/search/372748
Again, your words “art remember us” is prophetic.
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Wow! Cades painting must have been an inspiration for Ingres.
I was wondering about the French connection, myself. Leonardo was Italian. How did the French get involved with his death.
AH, Leonardo lived in France the last 3 years of his life.
Still, compared to a lifetime of creating in Italy, it seems like the French were trying to claim him for themselves.
Sigh..I’m so suspicious.
However, the art does record and remember where he died.
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I share your suspicion, Resa!!!!!
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Hmmm????
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Hi REbecca, what an interesting painting. I suppose this is similar, from a painter’s perspective to Charles Dickens signing the windowpane at Shakespeare’s birth house. A sort of great tribute to someone you admire.
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I am so glad that you mentioned Charles Dickens, Robbie. You sent me on a mini research project to find the connection between Dickens and Shakespeare’s birthplace.
There is a very important connection! I did not know this!!! Charles Dickens helped save the house where William Shakespeare was born from the dastardly clutches of PT Barnum, the American showman. Check out this article https://amp.theguardian.com/culture/2017/apr/03/story-dickens-fight-save-shakespeare-house-retold-exhibition
Thank you again for the prompt!!! I love our conversations.
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Wow, Rebecca, I didn’t know an American nearly stole Shakespeare’s birth house. My goodness! Thank heavens for Charles Dickens who helped save the day. I knew he was an ardent admirer of the Bard.
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What a tragedy it would have been to dismantle Shakespeare’s birth house and display it as an oddity.
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I agree 💓
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An amazing work of art that feels almost photorealistic. And a great explanatory post, Rebecca!
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I am delighted that you enjoyed the post, Dave! Why anyone would want to capture this specific moment was my first question. I understand that the painting was commissioned by Pierre Louis Jean Casimir de Blacas, the French ambassador in Rome, so there must have been a political motivation. Was it to connect the two countries? Was it to say that Leonardo da Vinci belonged to France as well as Italy. Isn’t it fun to speculate!!!
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For me, there is something disturbing about this painting.
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A very insightful thought, Liz! The painting by Ingres depicting the death of Leonardo da Vinci IS disturbing! Its graphic portrayal of the deceased artist, the somber atmosphere, and the attention to detail in capturing the moment of death creates a sense of unease. The voyeuristic nature of the painting, where the audience is positioned as if peering into a private moment of death, adds to the unsettling feeling evoked by the artwork.
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Stunning. I just finished reading Issacson’s bio of da Vinci. It was fascinating and detailed. You might enjoy it.
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I am so glad you mentioned that book, Cindy. I have it in my audiobook library and have just placed it on top of my “listening list.”
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