Verrocchio, Leonardo da Vinci – Baptism of Christ Uffizi
Uffizi – Verrocchio, Leonardo da Vinci - Baptism of Christ
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The work was painted around 1472-1475. Andrea Verrocchio, specializing primarily in sculpture, carried out painting commissions with long interruptions. "He failed to complete the Baptism of Christ for a long time, so he commissioned one of his pupils to finish the work - so Leonardo da Vinci became Verrocchio’s collaborator. The angel and the two figures occupying the center were depicted by Andrea: in them one traces his characteristic dry manner, the wiriness and "plasticity" of the bodies.
Description of Andrea Verrocchio’s Baptism of Christ
The work was painted around 1472-1475. Andrea Verrocchio, specializing primarily in sculpture, carried out painting commissions with long interruptions. "He failed to complete the Baptism of Christ for a long time, so he commissioned one of his pupils to finish the work - so Leonardo da Vinci became Verrocchio’s collaborator.
The angel and the two figures occupying the center were depicted by Andrea: in them one traces his characteristic dry manner, the wiriness and "plasticity" of the bodies. Leonardo painted the second angel on the left, using oil paints rather than tempera like his mentor. Oil dries much longer and is laid down in a smooth layer, allowing you to transfer light and shade, a little blurred images.
As a consequence, and was born well-known Leonard technique. He depicted some of the background, based on his earlier sketches of the Arno Valley. Verrocchio was more than pleased and impressed with the result: the young pupil’s creation was so outstanding that it was used to sketch angels.
It should be noted that the work is different in color and variety of shades: this is very atypical for paintings of religious themes. The authors are putting elements of symbolism into the work - you can see this by looking at the background. One can feel the influence of medieval painting traditions.
The characters’ movements are constrained, as if they exist only in two dimensions. The faces lack individuality, suggesting that the figure is more an image than a person. The landscape has no perspective, more reminiscent of icon painting than painting. Against the background of all the other characters, the body of the angel on the left stands out for its naturalness and lightness.
Due to the fact that the painting was painted by two great artists with very different painting styles, the work looks unique and very different from similar paintings of the time.
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To the right stands a man extending his hand towards the central figure, seemingly bestowing a blessing or performing a ritual act. He is dressed in flowing robes, revealing portions of his torso, and holds aloft a staff topped with a cross. His expression conveys solemnity and reverence. A second figure, positioned to the left, kneels in an attitude of prayerful contemplation. This individual wears elaborate garments adorned with gold detailing, and their gaze is directed towards the central scene unfolding before them. A youthful figure sits beside him, mirroring his posture and exhibiting a similar air of devotion.
Above this group, hovering within a luminous halo, appears a dove – a symbol that radiates light and seems to descend from an unseen source. The background landscape stretches into the distance, featuring a hazy mountain range under a twilight sky. A solitary palm tree stands prominently on the left side, its fronds reaching upwards towards the divine presence above.
The artist’s use of light is particularly noteworthy. It illuminates the central figure and the man performing the ritual, creating a sense of drama and highlighting their importance within the narrative. The contrast between the brightly lit foreground and the darker background enhances the depth of the scene and draws attention to the key elements.
Subtleties in the rendering suggest a complex interplay of human action and divine intervention. The differing levels of detail applied to each figure – the meticulous depiction of the central figure’s anatomy versus the more stylized representation of the kneeling man – might indicate varying degrees of earthly and spiritual significance. The landscape, rendered with atmospheric perspective, contributes to an overall sense of transcendence, suggesting a realm beyond the immediate physical world. The inclusion of the palm tree, often associated with religious symbolism, further reinforces this notion.