10 Famous Artworks That Were Never Finished

Leonardo da Vinci – The Adoration of the Magi (1481)

There’s something haunting about a masterpiece that never quite crosses the finish line, and Leonardo da Vinci’s “The Adoration of the Magi” is a shining example. In 1481, Leonardo began this ambitious painting but left it behind when he moved to Milan, never to return and finish the work. What makes this piece so captivating isn’t just its size or its subject but the visible evidence of Leonardo’s hand at work—sketches, underpaintings, and unfinished figures all swirl together. Even in its incomplete state, the painting radiates with energy and complexity, pulling viewers into the chaos and wonder of the Nativity scene. Art historians are particularly drawn to the way Leonardo experimented with perspective, creating depth and drama with unfinished brushstrokes. The rawness of the figures, some only outlined, offers a rare window into his creative process, almost as if you’re standing over his shoulder. Strangely, the work’s incomplete nature only adds to its allure, making it feel alive and forever in the act of becoming.

Michelangelo – The Entombment (c. 1500–1501)

Michelangelo’s “The Entombment” stands frozen in time, its figures halfway between inception and completion. Painted around 1500, this powerful altarpiece was likely abandoned due to a lack of commission or simply because Michelangelo’s restless genius was pulled elsewhere. What remains is a painting that pulses with intensity, as if the figures might step out from the panel at any moment. The unfinished sections allow the viewer to see the artist’s underdrawing, the swift marks and corrections that reveal Michelangelo’s evolving ideas. Art lovers and scholars find the emotional gravity here both moving and mysterious, with Christ’s limp body and Mary’s outstretched arms hinting at the full drama that might have been. The bare patches have become a point of fascination, offering a front-row seat to the birth of a masterpiece—and a poignant reminder that even legends sometimes leave things undone. For many, it’s the tension between what’s there and what’s missing that makes “The Entombment” unforgettable.

Michelangelo – San Matteo (Saint Matthew) (1505–1506)

If you’ve ever wondered how a block of stone becomes a living, breathing figure, Michelangelo’s unfinished “San Matteo” offers an answer. Started in 1505, this sculpture was abandoned when Michelangelo was summoned to paint the Sistine Chapel ceiling. The statue captures Saint Matthew half-emerging from the marble, his body rough and unfinished in places, his features only suggested. There’s a raw intensity to the piece—a sense of struggle and potential—that makes it one of Michelangelo’s most revealing works. Viewers can almost feel the chisel in the artist’s hand, sense the weight of creative decisions being made in real time. This glimpse into Michelangelo’s process, from the rough outline to the delicate details, has inspired countless sculptors and artists since. It’s as if the stone itself is alive, caught in the act of transformation. For many, “San Matteo” is a testament to the idea that sometimes what’s left unfinished tells the richest story of all.

Leonardo da Vinci – St. Jerome in the Wilderness (c. 1480s)

Leonardo da Vinci’s “St. Jerome in the Wilderness” is a portrait of devotion—both the saint’s and the artist’s. Started in the 1480s, it was likely left incomplete due to Leonardo’s constant travel and shifting interests. The painting is a study in contrasts: finished areas showcase Leonardo’s unmatched anatomical precision, while rough sketches and bare patches leave much to the imagination. The saint’s gaunt body and intense expression capture a moment of spiritual struggle, rendered with a sensitivity that only Leonardo could muster. Even incomplete, the painting’s drama and humanity shine through, as if the artist poured his soul into every brushstroke. For centuries, art experts have marveled at the dynamic energy locked within its unfinished lines, considering it a window into Leonardo’s genius and restless creativity. The work stands as a testament to the power of the human spirit—and the unpredictability of genius.

J.M.W. Turner – Various Late Works

J.M.W. Turner’s studio was a treasure trove of mystery when he died in 1851, leaving behind dozens of paintings in various states of completion. These late works, often bordering on abstraction, have become legendary for their visionary qualities. Turner’s wild, swirling skies and shimmering light seem to dissolve into pure emotion, blurring the line between landscape and feeling. Art historians now see these unfinished canvases as precursors to modernism, their bold use of color and daring brushwork anticipating movements like Impressionism and Abstract Expressionism. The lack of polish feels intentional, as if Turner was more interested in capturing the fleeting effects of nature than in finishing a traditional scene. For viewers, these works spark the imagination, inviting them to complete the image in their own minds. It’s as if Turner left these paintings as open questions, daring us to see the world through his eyes—a world always in flux, always unfinished.

Jan van Eyck – The Crucifixion and Last Judgment Diptych (c. 1430–1440)

Jan van Eyck’s “The Crucifixion and Last Judgment Diptych” is a tale of two panels—and two levels of completion. The right panel, depicting the Last Judgment, bursts with van Eyck’s signature detail: intricate robes, luminous faces, and a sense of divine order. In contrast, the left panel, showing the Crucifixion, appears rougher, with areas that remain sketchy and incomplete. This difference has puzzled art historians, sparking debates about why van Eyck left the left panel unfinished. Some suggest time constraints, others point to shifting artistic priorities. Yet even in its partial state, the left panel demonstrates van Eyck’s mastery of texture and color, with delicate glazes and vivid hues peeking through. The diptych as a whole feels like an unfinished symphony—one that lets us see the artist’s hand at work, right down to the last brushstroke. For many, it’s this unfinished quality that adds to the painting’s enduring intrigue.

Paul Cézanne – Portrait of Gustave Geffroy (1895)

Paul Cézanne’s “Portrait of Gustave Geffroy” tells a story of frustration and creative struggle. Begun in 1895, Cézanne abandoned the canvas after months of work, dissatisfied with his progress. The portrait, now celebrated for its restless energy, shows Geffroy surrounded by swirling books and papers, his face only partially defined. Cézanne’s bold brushwork and daring colors reveal his struggle to balance structure and spontaneity—a tension at the heart of his art. Critics have noted how the unfinished sections seem to vibrate with possibility, as if the painting could take any direction. This openness has inspired countless artists, including Picasso and Matisse, who saw in Cézanne’s struggle the seeds of modern art. For viewers, the portrait is a moving reminder of the challenges artists face and the courage it takes to walk away. Sometimes, what’s left undone can be as powerful as what’s finished.

El Greco – The Vision of Saint John (1608–1614)

El Greco’s “The Vision of Saint John” is a masterpiece of spiritual ecstasy, even in its unfinished form. Completed shortly before the artist’s death, parts of the painting remain roughly sketched, with figures and landscape elements only suggested. Yet the work throbs with energy, its elongated figures reaching skyward in a swirl of color and light. The unfinished areas amplify the painting’s emotional intensity, as if the vision is still unfolding before our eyes. El Greco’s bold use of color and dramatic composition have influenced generations of artists, from the Expressionists to the Abstract painters of the twentieth century. The sense of urgency and transcendence in the painting is heightened by its incomplete state—it feels less like a static image and more like a living experience. For many, “The Vision of Saint John” stands as a testament to the power of art to capture the ineffable, even when left unfinished.

Titian – The Flaying of Marsyas (c. 1570s)

Titian’s “The Flaying of Marsyas” is a brutal and haunting work, made even more powerful by its unfinished state. Painted in the 1570s, the piece depicts the mythological punishment of Marsyas with a rawness that is almost unbearable. Scholars believe Titian may have intentionally left the painting rough, allowing patches of canvas and underpainting to show through. This painterly looseness gives the scene a sense of immediacy and violence, as if the action is happening right in front of us. The unfinished areas seem to tremble with emotion, drawing the viewer into the suffering and chaos of the moment. Art historians have argued that these rough passages were a deliberate choice, part of Titian’s late style, which would go on to influence artists like Rembrandt and the Expressionists. The painting’s power lies in its very incompleteness—a reminder that art can be as much about the process as the result.

Albrecht Dürer – Adoration of the Trinity (The Landauer Altarpiece) (1511)

Albrecht Dürer’s “Adoration of the Trinity,” created for the Landauer Altarpiece in 1511, presents a fascinating puzzle to art lovers. While much of the altarpiece is richly detailed, certain sections remain sketchy or incomplete, as if Dürer left them for another day that never arrived. The finished areas display Dürer’s trademark precision and theological depth, with intricate figures and complex symbolism woven throughout. Even in the sketchy sections, Dürer’s technical mastery is evident: the lines are confident, the composition carefully considered. For centuries, scholars have debated why Dürer left these areas unfinished—was it a lack of time, changing commissions, or simply the artist’s perfectionism? Regardless, the piece stands as a testament to Dürer’s enduring influence on the Northern Renaissance, and its unfinished quality only adds to its mystique, inviting viewers to imagine what might have been.