1499, the French army invaded Milan, and Da Vinci moved to Venice to escape the war. After a few months, I went to mantua the following year, and drew some portraits for the local countess, who is a sober connoisseur with a wide collection of art treasures. One of them is quite similar to the silhouette of his later Mona Lisa. 1500 in April, Leonardo da Vinci returned to his hometown of Florence again. Knowing that the main altar of Lanzetta Cathedral needs an altar painting, he expressed his willingness to complete this task. The monks excitedly invited Da Vinci's family into the church and gave them a very cordial reception. But leonardo da vinci hasn't written for a long time. Finally, he finished a sketch, that is, the Virgin and Santa Anna. This sketch is based on the tone of seeking characters. The painter shows Santa Anna, Mary, Christ and John the Baptist as a harmonious family member. The group portrait takes the dialogue between Santa Anna and the Virgin as the theme, expressing a kind of family affection (this painting is drawn on kraft paper with charcoal and light color, from 1499 to 150 1). Because of the delicate feelings of the characters, the overlapping bodies also give people. Leonardo da Vinci was good at painting by exchanging charcoal and toner. His sketches are often full of images, soft light and strong three-dimensional sense. The picture seems to be covered with a layer of mist, and the virgin and her daughter are smiling at each other in this foggy environment. In addition, the painter chose blue-gray drawing paper, so the hazy feeling formed by charcoal pen has an atmospheric feeling in the moonlight. 1506 (about 15 12) Two years after his return to Milan, Leonardo da Vinci painted another oil painting with the same name. Although the oil painting on the board of this painting belongs to the same idea as the sketch of that year (the oil painting is now in the Louvre in Paris, with the size of 168× 130 cm), it is obviously not as kind and poetic as the sketch. This is mainly because the arrangement of characters is too limited by composition and the sense of form is considered a little more. Here, the painter sat the Virgin Mary on her mother's lap. Although her grandmother Santa Anna is very young, she still thinks that the body of the Virgin Mary is too big for her to bear such a weight. However, the smile on Santa Anna's face is directed at the naughty little grandson-Jesus (Jesus is breaking away from his mother's hand). Mary reached out and hugged Jesus as if she were sitting in an easy chair. This kind of emotional transmission is not very harmonious. Although the character processing is compact, it is not natural and vivid. Sancta familia, a biblical theme, is the most commonly used in religious murals. Different people, painters have their own performance characteristics. Leonardo da Vinci emphasized the image of Santa Anna in this oil painting, especially the careful carving of her facial expressions. Although his feminine smile formula is exposed again here, as the highest aesthetic ideal of realism, Leonardo pursues it almost like all the unknown mysteries in nature. He once said: Nature is so popular, so changeable and endless. Even a tree of the same species will not meet this tree like that one, and … people will not meet this tree like others.