展示了有关达芬奇（Leonardo da Vinci）作为画家的人生早期的新颖结论，放大了他在安德里亚•德尔•维罗基乔（Andrea del Verrocchio）画室的作用

对莱昂纳多•达•芬奇（1452-1519）作为艺术家的人生开端的这次开创性的重新探讨最早暗示了几件新的可能是他幸存下来的最早作品的作品，并修正了我们对他在其老师安德里亚•德尔•韦罗基奥（Andrea del Verrocchio）（1435-1488）的画室中所扮演角色的理解。本书在Verrocchio画室的蛋彩画作品中寻找这位年轻画家的手，并提出了新的用来判断Verrocchio自己绘画风格的新标准。本书确认了了几幅可能是莱昂纳多作品的油画，而长期以来被认为是维罗基奥或其助手洛伦佐•迪•克雷迪（1457 / 59-1536）创作的其他作品现在可能被视为与莱昂纳多在1482/83离开佛罗伦萨之前的某个时期合作创作的。除了劳伦斯•坎特（Laurence Kanter）的详尽论据外，这本书还收录了三篇文章，介绍了最近的科学分析和影像学，它们为判断油画或部分油画是否出自莱昂纳多提供了支持。

Presents exciting, original conclusions about Leonardo da Vinci’s early life as an artist and amplifies his role in Andrea del Verrocchio’s studio

This groundbreaking reexamination of the beginnings of Leonardo da Vinci’s (1452–1519) life as an artist suggests new candidates for his earliest surviving work and revises our understanding of his role in the studio of his teacher, Andrea del Verrocchio (1435–1488). Anchoring this analysis are important yet often overlooked considerations about Verrocchio’s studio—specifically, the collaborative nature of most works that emerged from it and the probability that Leonardo must initially have learned to paint in tempera, as his teacher did. The book searches for the young artist’s hand among the tempera works from Verrocchio’s studio and proposes new criteria for judging Verrocchio’s own painting style. Several paintings are identified here as likely the work of Leonardo, and others long considered works by Verrocchio or his assistant Lorenzo di Credi (1457/59–1536) may now be seen as collaborations with Leonardo sometime before his departure from Florence in 1482/83. In addition to Laurence Kanter’s detailed arguments, the book features three essays presenting recent scientific analysis and imaging that support the new attributions of paintings, or parts of paintings, to Leonardo.