The Italian polymath Leonardo da Vinci (1452–1519) was one of the founding figures of the High Renaissance, and had an enormous influence on subsequent artists. Eight major works—The Adoration of the Magi, Saint Jerome in the Wilderness, the Louvre Virgin of the Rocks, The Last Supper, the ceiling of the Sala delle Asse, The Virgin and Child with Saint Anne and Saint John the Baptist, The Virgin and Child with Saint Anne, and the Mona Lisa—are universally attributed to him, and have aroused little or no controversy in the past. Eleven additional works are now widely attributed to his oeuvre, though most have previously incited considerable controversy or doubt: the Annunciation, Madonna of the Carnation, The Baptism of Christ (with his teacher, Verrocchio), Ginevra de' Benci, the Benois Madonna, the Portrait of a Musician (with possible studio assistance), the Lady with an Ermine, La Belle Ferronnière, the London Virgin of the Rocks (with studio assistance), the Portrait of Isabella d'Este, and Saint John the Baptist.

Other attributions are more complicated. La Scapigliata appears to be attributed to him by most scholars, but some prominent specialists are silent on the issue. Salvator Mundis attribution remains extremely controversial, and the extensive nature of the restoration may never allow a definitive resolution. The small number of surviving paintings is due in part to Leonardo's habit of disastrous experimentation with new techniques and his chronic procrastination, resulting in many incomplete works. It is thought that he created many more works that are now lost, though records and copies have survived for some.

In addition to his paintings, there are eleven surviving manuscripts of Leonardo da Vinci's notes and drawings, amounting to thousands of pages in total. There are numerous other works with disputed attributions to Leonardo, which have failed, as of yet, to achieve thorough scholarly approval.

Major extant works

Key: Collaborative work Possibly collaborative work

Universally acceptedUnanimously accepted worksWidely acceptedAccepted by large majority of modern scholars; controversial in the pastGenerally acceptedAccepted by most modern scholars; still controversial

The Annunciation Oil and tempera on poplar panel Uffizi, Florence Widely accepted Generally thought to be the earliest extant work by Leonardo. Traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart; accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others. Madonna of the Carnation Oil on poplar panel Alte Pinakothek, Munich Widely accepted Generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.The Baptism of Christ Oil and tempera on poplar panel Uffizi, Florence Widely accepted as by Verrocchio and Leonardo Painted mainly by Andrea del Verrocchio; Leonardo's contributions include angel on the left-hand side, some of the background landscape and the torso of Christ. Ginevra de' Benci Oil and tempera on poplar panel National Gallery of Art, Washington, D.C. Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Lady with an Ermine supports the attribution of this painting. Benois Madonna Oil on wood panel, transferred to canvas Hermitage, Saint Petersburg Widely acceptedThe Adoration of the Magi Oil (underpainting) on wood panel Uffizi, Florence Universally accepted: "Attribution to Leonardo is unchallenged." Forensic and scientific analysis by Maurizio Seracini now proves that at least two layers of varnish, mainly in the lower half of the painting, were applied in the 18th–19th centuries. Saint Jerome in the Wilderness Tempera and oil on walnut panel Vatican Museums Universally accepted: "Attribution to Leonardo has never been seriously questioned." Madonna Litta Tempera (and oil) on poplar panel Hermitage, Saint Petersburg Widely accepted Martin Kemp claims that the National Gallery, London, exhibited the Madonna Litta on loan from the Hermitage as an autograph work, even though the gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio. Virgin of the Rocks(Louvre version) Oil on wood panel, transferred to canvas Louvre, Paris Universally accepted: "Attribution to Leonardo is unchallenged." Portrait of a Musician Oil (and tempera?) on walnut panel Pinacoteca Ambrosiana, Milan Widely accepted Widely accepted that Leonardo painted the figure's face. Some scholars suggest the body to be the work of his pupils Giovanni Antonio Boltraffio and Giovanni Ambrogio de Predis Lady with an Ermine Oil on walnut panel Czartoryski Museum, Kraków Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Ginevra de' Benci supports the attribution of this painting. La Belle Ferronnière Oil on walnut panel Louvre, Paris Widely accepted Modern scholars still debate the attribution and it is not as widely accepted as other portraits like Ginevra de' Benci, Portrait of a Musician, and Lady with an Ermine. Virgin of the Rocks (London version) Oil on parqueted poplar panel National Gallery, London Generally accepted Generally accepted as postdating the version in the Louvre, and produced in collaboration with Ambrogio de Predis and perhaps others. Some consider it the work of Leonardo's workshop under his direction. The date is not universally agreed.The Last Supper Tempera on gesso, pitch and mastic Convent of Santa Maria delle Grazie, Milan Universally accepted: "Attribution to Leonardo has never been contested." Sala delle Asse Tempera on plaster Castello Sforzesco, Milan Universally accepted: "Unanimously recognized as the only surviving fragments by Leonardo for this room."The Virgin and Child with Saint Anne and Saint John the Baptist Charcoal, black and white chalk on tinted paper, mounted on canvas National Gallery, London Universally accepted: "Attribution to Leonardo is unanimous." Portrait of Isabella d'Este Black and red chalk, yellow pastel chalk on paper Louvre, Paris Widely accepted Letters document at least two portrait drawings of Isabella d'Este and, in 1501–1506, her requests to execute the promised portrait in colour. Madonna of the Yarnwinder(The Buccleuch Madonna) Oil on walnut panel Scottish National Gallery, Edinburgh Generally accepted as by Leonardo and another artist Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both. The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support. Salvator Mundi Oil on wood panel Unknown Generally accepted Previously presumed to be a later copy of the lost original painting. Purchased in 2005 and restored, it has gained only few acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere which are indicators of the painting's status as an "original". The painting set a new record for sale price (US$450 million) when auctioned by Christie's in 2017. Matthew Landrus considers it to be primarily the work of Bernardino Luini. In the 2021 documentary The Lost Leonardo, Frank Zöllner said: "You have the old parts of the painting which are original—these are by pupils—and the new parts of the painting, which look like Leonardo, but they are by the restorer. In some part, it's a masterpiece by Dianne Modestini". In 2021, the Spanish Prado downgraded the painting to a partial attribution. In 2022, the Encyclopædia Britannica noted: "no official record of the painting's attribution officially exists". Madonna of the Yarnwinder (The Lansdowne Madonna) Oil on wood panel (transferred to canvas and later re-laid on panel) Collection of Kenneth C. Griffin, New York City. On loan to Metropolitan Museum of Art as of March 2026 Generally accepted as having an underdrawing by LeonardoThe Virgin and Child with Saint Anne Oil on wood panel Louvre, Paris Universally accepted: "Although the painting's condition is poor, it should be considered a very damaged original by Leonardo." Mona Lisa Oil on cottonwood (poplar) panel Louvre, Paris Universally accepted: "Unanimously attributed to Leonardo, although there is little agreement on its date." A drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth and a record of an October 1517 visit by Louis d'Aragon, confirm an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished. La Scapigliata Earth, amber and white lead on wood panel Galleria Nazionale, Parma Generally accepted Saint John the Baptist Oil on walnut panel Louvre, Paris Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. Scientific evidence in the second half of the 20th century has furthered this attribution.

Manuscripts Abbreviation(s) Pages Codex Atlanticus 1478–1519 C.A. 1,119 Pinacoteca Ambrosiana, MilanGiant crossbow (C.A.149b-r/53v-b) 12 volumes, collated by the sculptor Pompeo Leoni. Codex Windsor 1478–1518 W. 153 Royal Collection, WindsorFetus in the womb (W.19102r) These drawings were pasted into an album by Pompeo Leoni, probably entered the English royal collection in the reign of Charles II, and were removed from their binding in the 19th century. Codex Arundel 1480–1518 B.L., Arundel MS. or Br.M. 283 British Library, LondonDiving apparatus (B.L.24v) Codex Trivulzianus Triv. 55(originally 62) Biblioteca Trivulziana, Castello Sforzesco, MilanList with a profile portrait (Triv.30r) Codex Forster 1487–1505 Forster I, II and III (including I1, I2 and II2); formerly known as S.K.M.I, II and III 354 Victoria and Albert Museum, London Determining the volume of regular and irregular solids (Forster I.7r)Five pocket notebooks bound into three volumes, here listed in chronological order: Paris Manuscripts 1488–1505 A, B, C, D, E, F, G, H (including H1, H2 and H3), I (including I1 and I2), K (including K1, K2 and K3), L and M more than 2,500 Bibliothèque de l'Institut de France, ParisAerial screw (detail of B.83v)

Vertically standing bird's-winged flying machine (B.80r)12 volumes, here listed in chronological order: Codex Madrid1490s–1504 Madrid I and Madrid II Biblioteca Nacional de España, Madrid Drawing of the ironwork casting mould for the head of the Sforza Horse (Madrid II.156v–157r)Two volumes, rediscovered in 1966: Codex Ashburnham Ash.I. or B.N.2037 (formerly part of MS.B.); Ash.II or B.N.2038 (formerly part of MS.A.) Bibliothèque de l'Institut de France, Paris Studies for a building on a centralized plan (Ash.I.5v) Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890. Codex on the Flight of Birdsdated 1505 Turin 18 Biblioteca Reale, Turin Notes on the position of a bird in flight in relationship to the wind (Turin.8r) Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–1847. Codex Leicester 1506–1510 Leic. 72 Collection of Bill Gates, Seattle (tours internationally) Studies of the illumination of the moon (Leic.1A (1r)) Codex Urbinas and libro A Urb. and L°A. Biblioteca Apostolica Vaticana An anthology of writings by Leonardo compiled after his death by his pupil Francesco Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).

Lost works