Leonardo in Florence

'The Baptism of Christ' is one of the earliest known works that Leonardo contributed to during his apprenticeship with Andrea del Verrocchio.

The painting was commissioned by Andrea del Verrocchio’s brother, Don Simone, who was head of the San Salvi monastery in Florence (a position of considerable influence and responsibility). An appreciator of the arts, Don Simone wanted a striking altarpiece to enhance the visual appeal of the monastery.

Altarpieces were often the focal point of a church or monastery, and their design and execution were of the utmost importance.

Completed around 1475, 'The Baptism of Christ' is now housed in the Uffizi Gallery in Florence and has stirred the art world for years, especially after the realization of Leonardo's involvement.

Verrocchio and Leonardo's painting alludes to a story recorded in all four biblical Gospels (Matthew, Mark, Luke, and John).

In the narrative, the adult Jesus approaches John the Baptist at the Jordan River to be baptized. According to the Gospel of Matthew, as Jesus emerged from the water, the heavens opened, the Holy Spirit descended as a dove, while a voice from heaven proclaimed, 'This is my beloved Son, with whom I am well pleased'.

In da Vinci’s artwork, Jesus stands prayerfully, wearing a modest piece of cloth in the River, accompanied by two angels. Above him, the heavens part to reveal God's hands, with a dove and beams of light signifying the holy spirit.

Nearby, John the Baptist, haloed and dressed in robes, pours water onto Jesus using a staff crowned with a gold cross, while two angels kneel by a palm tree, symbolizing salvation and life.

An inscription on a scroll next to John reads 'Ecce agnus dei qui tollit peccata mundi” ('Behold the Lamb of God which takes away the world's sin”).

Adding dynamism to the serene scene, a sharp-eyed bird swoops close to John, aiming for the trees in the backdrop.

The young Leonardo da Vinci is credited with painting one of the two angels depicted in "The Baptism of Christ," as well as a significant portion of the landscape backdrop.

This discovery was made possible through the analysis of the artwork, which included techniques such as infrared reflectography. In the early 20th century, art historians and experts began to recognize distinctive features of Leonardo's style.

A closer look at the left angel's face in 'The Baptism of Christ' demonstrates Leonardo's masterful use of light and shadow (“chiaroscuro”), achieving a sense of volume and depth.

The angel is also noted for its emotionally expressive gaze, anatomical accuracy, and lifelike appearance. Leonardo also used sfumato to soften the transition between different colors, in contrast to Verrocchio's far bolder strokes.

Another early work attributed to Leonardo during his apprenticeship is the 'Annunciation', dated to the early 1470s, which, like 'The Baptism of Christ', is now housed in the Uffizi Gallery, Florence.

The Annunciation depicts the moment the archangel Gabriel announces to Mary that she will bear a son through a virgin birth and become the mother of Jesus Christ.

In the foreground, archangel Gabriel, wings extended, confronts the Virgin Mary.

This event, according to the bible, is believed to have taken place in Nazareth, a town in the region of Galilee in present-day Israel. Yet the backdrop of Leonardo's painting showcases a distinctly Tuscan landscape.

It's a great example of a common practice among Renaissance artists: blending Biblical events with contemporary Italian settings to create a more intimate and recognizable visual experience for viewers​.

It's also a useful example of the common use of biblical and classical symbolism in Renaissance religious art. Gabriel holds Madonna lilies, representing Mary's purity, while his gestures and Mary's posture reflect the sacred message's gravity.

Stylistically, Leonardo's use of sfumato delivers a dreamlike effect to their figures.

After 'The Baptism of Christ,' and the 'Annunciation', painted in the 1470s under Verrocchio's tutelage, Leonardo's style matured.

We can see this in his later painting, 'The Adoration of the Magi' - an unfinished work begun in 1481.

While Leonardo's earlier paintings showcase his technical style (namely, his use of sfumato and delicate human portrayal), 'The Adoration of the Magi' goes further in its narrative composition.

'The Adoration of the Magi' depicts the Virgin Mary with the infant Christ appearing to reach out to a Magi presenting gifts, signifying his divine recognition. Beyond this main scene, the canvas is filled with diverse figures, including bystanders and horses, set against a backdrop of architectural ruins.

These ruins might signify the old world's decline, paving the way for Christianity.

So, while 'The Baptism of Christ' showcases Leonardo's initial skills, 'The Adoration of the Magi' reflects his growing prowess in weaving intricate narratives and symbolism, which he would go on to develop in his later religious paintings like 'The Last Supper' and 'The Virgin of the Rocks'.

'Ginevra de' Benci' (c. 1474-1478), housed in the National Gallery of Art in Washington, D.C., is an early portrait by Leonardo da Vinci, composed in his early twenties, that portrays a young woman from a wealthy family in Florence.

Rendered in oil on a panel, the portrait captures Ginevra with a somber expression, her gaze directed away from the viewer, set against a distant landscape of juniper trees — an intentional play on her name, as 'ginepro' means juniper in Italian.

The atmospheric background, with its misty, distant mountains, is a precursor to the landscapes found in the 'Mona Lisa' and 'Saint John the Baptist.'

It also displays Leonardo's early experimentation with aerial perspective, as well as a burgeoning skill in capturing lifelike detail and the psychological depth of his subjects, a trait that would become more pronounced in his later works.

The reverse side of the panel contains a wreath of laurel, palm, and juniper, accompanied by a scroll bearing the Latin motto 'Virtutem forma decorat '(Virtue adorns beauty). Such additions underscore Leonardo's interest in intertwining visual representation with symbolic meanings.