Leonardo di ser Piero da Vinci ( Italian: Ã, [leo'nardo di? s? r ' pj ?: ro da (v) 'vint? i] Ã, ( listen ) 15 April 1452Ã,2 May 1519), more commonly Leonardo da Vinci or just Leonardo , is an Italian polymath of the Renaissance, whose areas of interest include the discovery , painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, and cartography. He has been widely called the father of paleontology, ichnology, and architecture, and is widely regarded as one of the greatest painters of all time. Sometimes credited with the invention of parachutes, helicopters and tanks, it symbolizes the ideals of Renaissance humanists.
Many historians and scholars regard Leonardo as the prime example of "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "hasty inventive imagination," and he is widely regarded as one of the most gifted individuals who once became alive. According to art historian Helen Gardner, the scope and depth of her interest never existed in recorded history, and "her thoughts and personality looked like a superhuman, while man himself was mysterious and distant." Marco Rosci notes that while there is much speculation about his life and personality, his view of the world is more logical than mysterious, and that the empirical method he uses is unorthodox for his day.
Born out of wedlock with a notary, Piero da Vinci, and a peasant woman, Caterina, in Vinci in Florence, Leonardo was educated at Florentine's famous painter Andrea del Verrocchio. Much of his previous working life was spent on serving Ludovico il Moro in Milan. He then worked in Rome, Bologna and Venice, and he spent his last years in France in the house given to him by Francis I of France.
Leonardo, and, famously mainly as a painter. Among his works, Mona Lisa is the most famous and modernized portrait and The Last Supper of the most reproduced religious paintings of all time. Leonardo's image of Vitruvian Man is also considered a cultural icon, reproduced on items as diverse as euro coins, textbooks, and T-shirts.
A painting by Leonardo Salvator Mundi sold for a $ 450.3 million world record at Christie's auction in New York, November 15, 2017, the highest price ever paid for a work of art. Maybe fifteen of his paintings survived. Nevertheless, some of these works, together with his notebooks, containing drawings, scientific diagrams, and his thoughts on the nature of painting, make contributions to the next generation of artists rivaled only by his contemporary work, Michelangelo.
Leonardo is respected for his ingenuity of technology. He conceptualizes glyphs, armored fighting type vehicles, concentrated solar power, auxiliary engines, and double hulls. Relatively few designs were built or even viable during his lifetime, as a modern scientific approach to metallurgy and engineering only in their infancy during the Renaissance. However, some of his smaller inventions, such as automatic spindle rolls and engines to test the tensile strength of wires, enter undetected manufacturing world. A number of Leonardo's most recent inventions are now featured as working models at the Vinci Museum. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, but he did not publish his findings and they had no direct influence on later science.
Video Leonardo da Vinci
Life
Childhood, 1452-1466
Leonardo was born on April 15, 1452 (Old Style) "at the third hour of the night" in the Tuscan hill town of Vinci, in the valley below the Arno river in the Medici region of the Medici Republic. He was an illegitimate son of the rich Messer Piero Fruosino at Antonio da Vinci, a legal notary from Florentine, and Caterina, a farmer. Leonardo does not have a surname in the modern sense - "da Vinci" which means only "from Vinci"; his full name is "Lionardo di ser Piero da Vinci", which means "Leonardo, (son) of (Mes) ser Piero of Vinci". The inclusion of the title "ser" indicates that Leonardo's father was a gentleman.
Little is known about Leonardo's early life. He spent his first five years in the village of Anchiano at his mother's house, and from 1457 lived in the household of his father, grandparents and uncle in the small town of Vinci. His father married a sixteen-year-old girl named Albiera Amadori, who loved Leonardo but died young in 1465 with no children. When Leonardo was sixteen (1468), his father remarried to twenty-year-old Francesca Lanfredini, who also died childless. The legitimate heir Piero was born to his third wife Margherita in Guglielmo (who gave birth to six children: Antonio, Giulian, Maddalena, Lorenzo, Violante and Domenico) and his fourth and final wife, Lucrezia Cortigiani (who gave him six more children: Margherita, Benedetto, Pandolfo, Guglielmo , Bartolomeo and Giovanni).
Overall, Leonardo has twelve half-sisters, who are much younger than him (the last one born when Leonardo was forty years old) and with whom he had little contact, but they caused difficulties after his father's death in disagreement. over inheritance.
Leonardo received informal education in Latin, geometry and mathematics. In later life, Leonardo recorded only two minor incidents. One of those, which he regarded as a sign, was that when the kite fell from the sky and floated above his cradle, his tail feathers rubbed his face. The second happens when he explores in the mountains: he finds a cave and fears that some great monsters might lurk there and are driven by curiosity to find out what is inside.
Leonardo's early life has been the subject of historical conjecture. Vasari, a biographer of 16th-century Renaissance painters, tells the story of Leonardo as a very young man: A local farmer makes himself a round shield and asks Ser Piero to paint for him. Leonardo responded with a monster painting spewing a fire so frightening that Ser Piero sold it to an art dealer in Florentine, who sold it to the Duke of Milan. Meanwhile, after making a profit, Ser Piero bought a shield decorated with a heart pierced by an arrow, which he gave to the farmer.
Verrocchio Workshop, 1466-1476
In 1466, at the age of fourteen, Leonardo's apprentice to the artist Andrea in Cione, known as Verrocchio, the bottega (workshop) was "one of the best in Florence". He was an apprentice as a garzone (studio boy) to Andrea del Verrocchio, the leading Florentine painter and sculptor of his day (and will do so for 7 years). Other famous painters who are apprenticed or associated with the workshop include Domenico Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo will be exposed to theoretical training and various technical skills, including drafting, chemistry, metallurgy, metalworking, plaster casting, leather work, mechanics and carpentry as well as artistic skills of drawing, painting, sculpting and modeling.
Most of the production of Verrocchio's painted workshops is done by its employees. According to Vasari, Leonardo collaborated with Verrocchio in his book The Baptism of Christ, painting a young angel holding Jesus' robe in a way far superior to his master, Verrocchio putting his brush and never painting it. again, although this is believed to be apocryphal. A close examination reveals areas that have been painted or touched above the tempera, using a new technique of oil paint; scenery, rocks seen through the flow of brown mountains and many figures of Jesus who witnessed the hand of Leonardo. Leonardo may be a model for two works by Verrocchio: bronze statue David at Bargello and Archangel Raphael at Tobias and the Angel .
In 1472, at the age of twenty, Leonardo qualified as a master at the Guild of Saint Luke, an artist and medical doctor, but even after his father had arranged him in his own shop, his attachment to Verrocchio was such that he continued to collaborate with him. The earliest known date of Leonardo's work is the pen and ink drawings of the Arno valley, drawn on 5 August 1473.
Professional life, 1476-1513
Florentine court records of 1476 show that Leonardo and three other youths were charged with sodomy but released; homosexual acts are illegal in Renaissance Florence. From that date until 1478, there was no record of his work or even its existence. In 1478, he left Verrocchio's studio and no longer lived in his father's house. A writer, called Anonimo Gaddiano, claims that in 1480 Leonardo lived with the Medici and worked at Piazza San Marco Park in Florence, the academy of Neo-Platonist artists, poets and philosophers founded by Medici. In January 1478, he received an independent commission to paint the altar for the St. Chapel. Bernard at Palazzo Vecchio; in March 1481, he received a second independent commission for The Adoration of the Magi for the monks of San Donato a Scopeto. No commissions were settled, the second was interrupted when Leonardo went to Milan.
In 1482, Leonardo, who according to Vasari was a gifted musician, created a silver lute in the shape of a horse's head. Lorenzo de 'Medici sent Leonardo to Milan, bringing lyre as a gift, to secure peace with Ludovico Sforza, Duke of Milan. At this time, Leonardo wrote a frequently quoted letter describing the many extraordinary and varied things he could accomplish in engineering and tell Ludovico that he could also paint.
Leonardo worked in Milan from 1482 to 1499. He was assigned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception and The Last Supper for the monastery of Santa Maria delle Grazie. In the spring of 1485, Leonardo went to Hungary on behalf of Ludovico to meet Matthias Corvinus, who he believed had painted a Holy Family. Between 1493 and 1495, Leonardo recorded a woman named Caterina among his dependents in his tax document. When he died in 1495, the funeral expenditure list indicated that he was his mother.
Leonardo was employed in many different projects for Ludovico, including buoy preparations and parades for special occasions, designs for the dome for the Cathedral of Milan and models for the great equestrian monument to Francesco Sforza, the predecessor of Ludovico. Seventy tons of bronze are set aside for casting. The monument remained unfinished for several years, which was unusual for Leonardo. In 1492, the clay model of the horse was finished. This surpassed the size of only two of the great Renaissance riding statues, Donatello Gattamelata in Padua and Verrocchio Bartolomeo Colleoni in Venice, and came to be known as " Gran Cavallo ". Leonardo began to make detailed plans for casting; However, Michelangelo insulted Leonardo by implying that he could not throw it away. In November 1494, Ludovico gave bronze to be used for the cannons to defend the city from invasion by Charles VIII.
At the start of the Second Italian War in 1499, the invading French forces used a life-size clay model for Gran Cavallo for target practice. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and friend, mathematician Luca Pacioli, fled from Milan to Venice, where he was employed as an architect and military engineer, devising methods to defend the city from naval attacks. On his return to Florence in 1500, he and his household were guests of the Servite monks at Santissima Annunziata monastery and were given a workshop in which, according to Vasari, Leonardo created the cartoons of The Virgin and Child with St. Anne and St. John the Baptist. i>, a work that won the admiration that "men and women, young and old" in droves saw it "as if they were attending a great festival".
At Cesena in 1502, Leonardo entered the ministry of Cesare Borgia, the son of Pope Alexander VI, acting as an architect and military engineer and traveling throughout Italy with his patron. Leonardo made a map of the fortress Cesare Borgia, the city plan of Imola to win his protection. Map is very rare at the time and it will seem like a new concept. After seeing him, Cesare hired Leonardo as his principal military engineer and architect. Later that year, Leonardo produced another map for his patron, one of the Chiana Valley, Tuscany, thus providing his patron of better soil layers and greater strategic position. He made this map along with another project building a dam from the sea to Florence, to allow water supply to maintain the canal during all seasons.
Leonardo returned to Florence, where he rejoined the Guild of Saint Luke on October 18, 1503. He spent two years designing and painting the Anghiari Battle magazine for Signoria, with Michelangelo designing his companion, the Battle Cascina . In Florence in 1504, he was part of a committee set up to be relocated, contrary to the will of the artist, Michelangelo's statue of David .
In 1506, Leonardo returned to Milan. Many of his disciples or followers are most prominent in painting either knowing or working with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio, and Marco d'Oggiono. By this time he might have started a project for the Charles II d'Amboise riding figure, the French governor who acted from Milan. A wax model survives and, if original, is the only surviving example of a Leonardo statue.
Leonardo did not stay long in Milan because his father had died in 1504, and in 1507 he returned to Florence trying to solve the problem with his brothers over his father's property. In 1508, Leonardo returned to Milan, staying in his own home in Porta Orientale in Santa Babila parish.
Old age and death, 1513-1519
From September 1513 to 1516, under Pope Leo X, Leonardo spent most of his time living in Belvedere at the Vatican in Rome, where Raphael and Michelangelo were both active at the time. In October 1515, King Francis I of France recaptured Milan. On December 19, Leonardo attended the meeting of Francis I and Pope Leo X, which took place in Bologna. Leonardo was assigned to make Francis a mechanical lion who could walk forward then open his chest to reveal a group of lilies. In 1516, he entered the service of Francis, given the use of the noble house Clos LucÃÆ' © ©, now a public museum, near the residence of the king in ChÃÆ'Ã ¢ Ã ¢ teau d'Amboise kingdom. He spent the last three years of his life here, accompanied by his friend and apprentice, Prince Francesco Melzi, and supported by a 10,000 pension.
Leonardo died at Clos LucÃÆ'Â ©, on May 2, 1519 at the age of 67. The cause is generally expressed as a recurrent stroke; this diagnosis is consistent with reports of the circumstances alleged to Leonardo described in 1863. My Francis has become a close friend. Vasari notes that the king holds Leonardo's head in his arms when he dies, though this story, depicted in romantic paintings by Ingres, MÃÆ'Â © nageot, and other French artists, as well as by Angelica Kauffman, may be a legend rather than a fact. Vasari states that in his last days, Leonardo sent a priest to make his confession and receive the sacrament. In accordance with his will, sixty beggars followed his coffin. Melzi is the heir and principal executive, accepting, as well as money, Leonardo's paintings, tools, libraries, and personal items. Leonardo also remembers his old student and companion, Salai, and his slave Battista in Vilussis, who each received half of Leonardo's vineyard. His siblings receive the land, and his servant woman receives a black cloak of "good stuff" with feather edges. Leonardo da Vinci is buried in the Chapel of Saint-Hubert in ChÃÆ' Â ¢ teau d'Amboise in France.
About 20 years after Leonardo's death, Francis was reported by the goldsmith and sculptor Benvenuto Cellini who said: "There has never been another man born in a world who knows as much as Leonardo, not so much about painting, sculpture and architecture as he is a philosopher that's great. "
Fixed location
Former Leonardo was originally buried in the Saint-Florentin chapel at Chateau d'Amboise in the Loire Valley. However, after the destruction of the chapel in 1802, the remains of Leonardo were subject to dispute. While digging the site in 1863, poet Arsene Houssaye found fragments of skeletons and half rocks complete with the words 'EO [...] DUS VINC'. The enormous skull led Houssaye to conclude that he had found the remains of Leonardo, who were buried again at the site of their current Saint-Hubert chapel, also at the Chateau d'Amboise. Reflecting the doubt about attribution, a plaque over the tomb declares that remnants are only "considered" as belonging to Leonardo. In 2016, it was announced that DNA testing should be carried out to investigate the truth of attribution, with expected results by 2019.
Maps Leonardo da Vinci
Relationships and effects
Florence Florence: _Leonardo's_artistic_and_social_background "Florence: artistic and social background Leonardo
Florence in Leonardo's youth was the center of Christian humanist thought and culture. Leonardo started his apprenticeship with Verrocchio in 1466, the year that Lord Verrocchio, the great sculptor Donatello, died. The painter Uccello, whose initial experiment with perspective to influence the development of landscape paintings, is a very old man. Painter Piero della Francesca and Filippo Lippi, sculptor Luca della Robbia, and architect Leon Battista Alberti are in their sixties. The next generation of successful artists are Leonardo's teacher, Verrocchio, Antonio del Pollaiuolo, and sculptor portrait Mino da Fiesole. This last living human statue provides the most reliable resemblance of Lorenzo Medici's father, Piero and uncle Giovanni.
Leonardo's youth were spent in Florence decorated by the work of these artists and by Donatello's contemporaries, Masaccio, whose figurative paintings were filled with realism and emotion; and Ghiberti, whose Gate of Heaven , glittering with gold leaf, displaying the art of combining complex compositions with detailed architectural backgrounds. Piero della Francesca has made a detailed perspective study, and is the first painter to make a scientific study of light. These studies and the treatise of Alberti De Pictura have a profound effect on young artists and especially on Leonardo's own observations and artwork.
"The expulsion from the Garden of Eden" Massaccio depicting the naked and desperate Adam and Eve create a very expressive image of human form, cast into three dimensions using light and shadow, which will be developed in Leonardo's works in a very influential way in the course of painting. The humanist influence of Donatello "David" can be seen in Leonardo's late paintings, especially John the Baptist.
The usual tradition in Florence is the small altar of the Virgin and the Child. Many are made in tempera or terracotta glass by workshops Filippo Lippi, Verrocchio and productive families della Robbia. Early Leonardo Madonna like The Madonna with carnations and Benois Madonna follows this tradition while showing idiosyncratic departure, especially in the case of the Benois Madonna in which the Virgin is arranged at an angle to the drawing room by Son of Christ on the opposite corner. The theme of this composition appears in Leonardo's later paintings such as the Virgin and the Child with St. Anne .
Leonardo's contemporaries with Botticelli, Domenico Ghirlandaio and Perugino, all of whom were slightly older than him. He will meet them at the Verrocchio workshop, with whom they relate, and at the Medici Academy. Botticelli is the main favorite of the Medici family, and thus his success as a painter is guaranteed. Ghirlandaio and Perugino are both productive and run large workshops. They competently commission satisfied customers, who appreciate Ghirlandaio's ability to portray the rich Florentine in a large religious fresco, and Perugino's ability to convey many saints and angels from unending sweetness and innocence.
All three were among those assigned to paint the walls of the Sistine Chapel, a work that began with Perugino's work in 1479. Leonardo was not part of this prestigious commission. His first significant commission, The Adoration of the Magi for Monks of Scopeto, was never completed.
In 1476, at the time of Leonardo's association with Verrocchio's workshop, the Altar Portinari by Hugo van der Goes arrived in Florence, bringing in new techniques of Northern European painters that greatly influenced Leonardo, Ghirlandaio, Perugino, and others. In 1479, the Sicilian painter Antonello da Messina, who worked exclusively in oil, traveled north on his way to Venice, where prominent painter Giovanni Bellini adopted oil painting techniques, quickly making it his preferred method in Venice. Leonardo also later visited Venice.
Like two contemporary Bramante architects and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number that appeared in his journals, both as a plan and a view, although nothing was ever realized.
The political group of Leonardo was Lorenzo Medici (il Magnifico), who was three years older, and his younger brother Giuliano, who was killed in the Pazzi conspiracy in 1478. Leonardo was sent as ambassador by the Medici court to Ludovico il Moro, who ruled Milan between 1479 and 1499.
With Alberti, Leonardo visited the Medici house and through them came to know the older humanist philosophers among them Marsiglio Ficino, a supporter of Neo Platonism; Cristoforo Landino, author of comments on Classical writings, and John Argyropoulos, Greek teacher and translator of Aristotle is the foremost. Also associated with the Medici Academy is the contemporary Leonardo, the brilliant young poet and philosopher Pico della Mirandola. Leonardo then wrote on the edge of a journal, "The Medici made me and Medici destroy me." Meanwhile, through Lorenzo's actions that Leonardo accepted his work in Milan court, it is not known exactly what Leonardo meant by this vague comment.
Though commonly named as three giants of the High Renaissance, Leonardo, Michelangelo and Raphael did not come from the same generation. Leonardo was twenty-three years old when Michelangelo was born and thirty-one when Raphael was born. Raphael lived until he was only 37 years old and died in 1520, the year after Leonardo died, but Michelangelo continued to work for 45 years.
Personal life
In Leonardo's time, the power of his extraordinary discoveries, his "extraordinary physical beauty", "infinite grace", "extraordinary power and generosity", "great spirits and minds," as described by Vasari , as well as all other aspects of his life, attracts the curiosity of others. One aspect is his respect for life, as evidenced by vegetarianism and his habits, according to Vasari, to buy the birds that are locked up and released.
Leonardo has many friends who are now famous both in their field or for their historical interests. They include the mathematician Luca Pacioli, with whom he collaborated on the book De Divina proportione in the 1490s. Leonardo does not seem to have a close relationship with women except for his friendship with Cecilia Gallerani and two sisters Este, Beatrice and Isabella. While on a journey that took him through Mantua, he drew portraits of Isabella that seemed to have been used to create painted portraits, now gone.
Outside of friendship, Leonardo kept his private life a secret. Sexuality has become a subject of satire, analysis, and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, mainly by Sigmund Freud. Leonardo's most intimate relationship was possible with his disciples Salai and Melzi. Melzi, writing to tell Leonardo's brothers about his death, describes Leonardo's feelings for his students as loving and passionate. It has been claimed since the 16th century that this relationship is sexual or erotic. The court records of 1476, when he was twenty-four years old, showed that Leonardo and three other youths were accused of sodomizing in an incident involving a famous male prostitute. The accusation was dismissed for lack of evidence, and there is speculation that since one of the defendants, Lionardo de Tornabuoni, linked to Lorenzo de 'Medici, the family used its influence to secure the dismissal. Since that date much has been written about his homosexuality and his role in art, especially in androgyny and erotism embodied in John the Baptist
Assistant and student
Gian Giacomo Caprotti da Oreno, nicknamed Salai or Il Salaino , "entered the household of Leonardo in 1490. After only a year, Leonardo made a list of his mistakes, called him "a thief, a liar, stubborn, and greedy", after he had succeeded with money and valuables at least five times and spent a fortune on clothes. However, Leonardo treated him with great indulgence, and he stayed at Leonardo's house for the next thirty years. Salai executes a number of paintings by the name of Andrea Salai, but although Vasari claims that Leonardo "taught him a lot about painting", his work is generally considered less artistic than others among Leonardo's disciples, such as Marco d 'Oggiono and Boltraffio. In 1515, he painted a naked version of Mona Lisa , known as Monna Vanna . Salai had Mona Lisa at the time of his death in 1524, and in his will it was judged on 505 lira, a very high appraisal for small panel portraits.
In 1506, Leonardo took another disciple, Prince Francesco Melzi, the son of a Lombard aristocrat, who is considered to be his favorite student. He traveled to France with Leonardo and remained with him until Leonardo's death. Melzi inherited Leonardo's artistic and scientific works, manuscripts, and collections and managed the plantation.
Painting
Despite the recent awareness and admiration of Leonardo as a scientist and inventor, for a better part of his four hundred years his fame rests on his achievements as a painter. A number of works that are authenticated or attributed to him have been regarded as one of the great masterpieces. These paintings are famous for the many qualities that have been imitated by students and discussed at length by experts and critics. In 1490 Leonardo was described as a painter "Divine".
Among the qualities that make Leonardo's unique work is his innovative technique to coat the paint; his detailed knowledge of anatomy, light, botany and geology; his interest in physiognomy and the way humans register emotions in expression and gestures; its innovative use of human form in figurative composition; and he uses a subtle tone gradient. All these qualities come together in his most famous paintings, Mona Lisa , Last Supper , and Virgin of the Rocks .
Initial work
Leonardo first gained fame for his work on Baptism of Christ, painted along with Verrocchio. Two other paintings appear to date from his time in the Verrocchio workshop, both of which are Annunciations. One small, 59 cm (23 inches) long and 14 cm (height 5.5 inches) high. It is a "predella" to go on the basis of a larger composition, a painting by Lorenzo di Credi that sets it apart. The other is a much larger job, the length of 217 cm (85Ã, in) . In both Annunciations, Leonardo uses formal arrangements, such as two famous images by Fra Angelico of the same subject, of the Virgin Mary sitting or kneeling to the right of the image, approaching from the left by an angel in profile, with rich flowing garments, lifting wings and carrying lily. Although previously associated with Ghirlandaio, a larger work is now commonly associated with Leonardo.
In smaller paintings, Mary looked away and folded her arms in a movement that symbolized obedience to God's will. Mary did not bow, however, in the larger part. The girl, interrupted by her reading by this unexpected messenger, put a finger in her Bible to mark the place and raised her hand in a formal gesture to greet or surprise. This calm young woman seems to accept her role as the Mother of God, not with resignation but with confidence. In this painting, the young Leonardo presents the humanist face of the Virgin Mary, recognizing the role of man in God's incarnation.
Paintings of the 1480s
In the 1480s, Leonardo received two very important commissions and started another very important job in composition. Two of the three are never finished, and the third is so long that it has to go through long negotiations on settlement and payment.
One of these paintings is St. Jerome in the Wilderness, which Bortolon relates to the tough times of Leonardo's life, as evidenced in his diary: "I thought I was learning to live, I just learned to die." Although the painting has just begun, the composition can be seen and very unusual. Jerome, as penitent, occupies the center of the image, slightly diagonal and seen somewhat from above. The kneeling shape takes the form of a trapezoid, with one hand stretched to the outer edge of the painting and his gaze looking in the opposite direction. J. Wasserman shows the relationship between this painting and Leonardo's anatomical study. In the foreground is the symbol, a large lion whose body and tail form a double spiral at the bottom of the drawing room. Another extraordinary feature is the steep rocky landscape that becomes a silhouette figure.
The bold display of image composition, landscape elements and personal drama also appear in unfinished masterpieces, Witchcraft of the Magi , commissioned from the San Donato Scopeto Monastery. This is a complex composition, about 250 x 250 cm. Leonardo did a lot of drawing and preparatory studies, including details in the linear perspective of the crumbling classic architecture that was part of the background. In 1482 Leonardo went to Milan on the orders of Lorenzo de 'Medici to win the heart with Ludovico il Moro, and the painting was abandoned.
The third important work of this period is Virgin of the Rocks , commissioned in Milan for the Confraternity of the Immaculate Conception. The painting, which must be done with the help of the brothers de Predis, is to fill the elaborate altar of giants. Leonardo chose to paint apocryphal moments from the early days of Christ when the baby of John the Baptist, in the protection of an angel, met with the Holy Family on the road to Egypt. The painting shows a frightening beauty when the graceful figures kneel in the cult around Christ's baby in the wild landscape of thunderous rock and spinning water. While the painting is quite large, about 200cm (120cm), it is not as complicated as the paintings commanded by the monks of St Donato, has only four digits rather than about fifty and the rocky landscape of architectural detail. The painting was finally finished; actually, the two versions of the painting were completed: one remained in the Confraternity chapel, while Leonardo took the others to France. The brothers did not get their paintings, however, or de Predis their payment, until the next century.
Painting 1490s
Leonardo's most famous painting of the 1490s was The Last Supper , which was assigned to the refuge of the Monastery of Santa Maria della Grazie in Milan. This is the last food Jesus shared with his disciples prior to his capture and death, and shows the moment when Jesus just said "one of you will betray me", and the concern caused by this statement.
Novelis Matteo Bandello studied Leonardo at work and wrote that some days he would paint from dawn to dusk without stopping to eat and then not paint for three or four days at a time. This was beyond the understanding of the previous monastery, who chased him until Leonardo asked Ludovico to intervene. Vasari describes how Leonardo, annoyed by his ability to portray the faces of Christ and the traitorous Judas, told Duke that he might be obliged to use his earlier model.
When finished, the painting was acknowledged as a work of design and characterization, but deteriorated rapidly, resulting in one hundred years being described by one audience as "utterly ruined". Leonardo, instead of using a reliable fresco technique, has used a tempera on the ground that is primarily gesso, so that the surface becomes molded and peeling. Nevertheless, the painting remains one of the most reproduced works of art; countless copies have been made on every medium from the carpet to brilliant acting.
16th century painting
Among the works created by Leonardo in the 16th century is a small portrait known as Mona Lisa or la Gioconda, who laughs. In the present era, this is arguably the most famous painting in the world. His fame lies, in particular, on the elusive smile on her face, his mysterious qualities probably because of the corners of the mouth and eyes that are shaded smoothly in such a way that the exact nature of the smile can not be determined. The shadow quality for this famous work is called "sfumato", or Leonardo's smoke. Vasari, who is generally thought to have known the painting only by reputation, said that "the smile is so much fun that it looks greater than humans, and those who see it are amazed to discover that it is as living as the original."
Another characteristic of this painting is the unadorned dress, where the eyes and hands have no competition from other details, dramatic landscape backgrounds where the world seems to be in a state of flux, quiet colors, and the very subtle nature of the painter's technique, using oil which is placed on top like a tempera and fused on the surface so that the brush strokes can not be distinguished. Vasari expressed the opinion that the way of painting would make even "most confident teachers ... desperate and lost heart." The state of preservation is perfect and the fact that no sign of repair or overpainting is rare in panel painting on this date.
In the painting Virgin and Child with St. Anne , the re-composition takes on the theme of the figure in the landscape, described by Wasserman as "plainly beautiful" and reminiscent of St Jerome's image with a set number. at an angled angle. What makes this painting unusual is that there are two figures laid out in italics. Mary sat on her mother's knee, St Anne. He bowed to hold back the Son of Christ as he played rough with a sheep, a sign of his impending sacrifice. This painting, copied many times, influenced Michelangelo, Raphael, and Andrea del Sarto, and through them Pontormo and Correggio. Composition trends are specifically adopted by the Venetian painters Tintoretto and Veronese.
Mural
Leonardo Anghiara Battle is a fresco commissioned in 1505 for the Salone dei Cinquecento (Hall of the Five Hundred) at Palazzo Vecchio, Florence. The main scene depicts four men riding a war horse battling in a battle to have a standard, at the Battle of Anghiari in 1440. At the same time his rival Michelangelo, who had just completed it David, was assigned the opposite wall. All that remains of Leonardo's work is a copy by Rubens, but Maurizio Seracini believes it can still be found and has spent a lifetime searching for it. He was allowed to drill several pilot holes in the mural at Salone dei Cinquecento, Palazzo Vecchio, Florence, and his team found evidence of oil paintings underneath.
Images
Leonardo was not a prolific painter, but he was one of the most prolific artists, making journals full of small sketches and detailed drawings that captured all the things that caught his attention. Like journals there is a lot of research for painting, some of which can be identified as preparation for certain works such as The Adoration of the Magi, The Virgin of the Rocks and > The Last Supper . Dated dated images are Arno Valley View , 1473, which shows the river, mountains, Castle Montelupo, and farmland beyond it in great detail.
Among his famous images is the Vitruvian Man, a study of the proportion of the human body; Angel's Head , for The Virgin of the Rocks in the Louvre; a botanical study of the Star of Bethlehem ; and large images (160ÃÆ'â € "100Ã, Â ° C) in black chalk on colored paper The Virgin and Child with St. Anne and St. John the Baptist at the National Gallery, London. This image uses fine shading techniques, such as the Mona Lisa . It is estimated that Leonardo never made a drawing of it, the closest similarity was the The Virgin and the Son with St. Anne in the Louvre.
Other interesting images include many studies that are commonly referred to as "caricatures" because, although exaggerated, they seem to be based on observations of life models. Vasari relates that if Leonardo sees someone with an attractive face he will follow them throughout the day observing them. There is much research on beautiful young men, often associated with Salai, with rare and highly admired facial features, called the "Greek profile". These faces often contrast with a fighter. Salai is often depicted in fancy costume costumes. Leonardo is known to have sets designed for contests with which this may be related. Other, often thorough, the pictures show the study of curtains. The marked developments in Leonardo's ability to draw curtains occurred in his original work. Another often reproduced image is a terrifying sketch done by Leonardo in Florence in 1479 showing the body of Bernardo Baroncelli, hanged in connection with the murder of Giuliano, brother of Lorenzo de 'Medici, in the Pazzi conspiracy. With uncharitable integrity Leonardo had enlisted in a tidy mirror that wrote the color of the robe that Baroncelli wore when he died.
Observation and discovery
Journals and notes
Renaissance humanism does not recognize the mutually exclusive poles between science and art, and Leonardo's studies in science and engineering are sometimes regarded as impressive and innovative as his art. These studies are recorded in 13,000 pages of notes and drawings, which combine the art and philosophy of nature (the predecessor of modern science). They are created and maintained daily throughout Leonardo's life and journey, as he constantly observes the world around him.
Most of Leonardo's writings are in the form of mirror image curves. Although secrecy is often suggested as an excuse for this writing style, it may be more of a practical wisdom. Since Leonardo wrote with his left hand, it might be easier for him to write from right to left.
Leonardo's notes and pictures show a great deal of interest and preoccupation, some as mediocre as shopping lists and people who owe him money and some as exciting as designs for wings and shoes to walk on water. There are compositions for painting, detailed study and curtains, facial and emotional studies, animals, infants, surgery, plant studies, rock formations, whirlpools, war machines, glyphs, and architecture.
These notebooks - originally papers of various types and sizes, distributed by friends after his death - have found their way into major collections such as the Royal Library of Windsor Castle, the Louvre, the Biblioteca Nacional de Espaà ± a, the Victoria and the The Albert Museum, Biblioteca Ambrosiana in Milan, which stores twelve volumes of Codex Atlanticus, and the British Library in London, which has chosen from Arundel Codex (BL Arundel MS 263) online. The Codex Leicester is Leonardo's only masterpiece in private hands; owned by Bill Gates and displayed annually in various cities around the world.
Leonardo's notes seem to have been intended for publication because many sheets have shapes and sequences that will facilitate this. In many cases, one topic, for example, the heart or human fetus, is discussed in detail in words and pictures on a single sheet. Why they were not published during the time of Leonardo is unknown.
Scientific studies
Leonardo's approach to science is an observation: he tries to understand a phenomenon by describing and describing it in detail and not emphasizing experiments or theoretical explanations. Since he had no formal education in Latin and mathematics, most contemporary scholars disregarded Leonardo the scientist, even though he himself taught Latin. In the 1490s he studied mathematics under Luca Pacioli and prepared a series of ordinary solids drawings in a frame form to be carved as a plate for Pacioli's book De divina proportione , published in 1509.
The contents of his journals show that he is planning a series of treatises to be published on various subjects. A coherent treatise on anatomy was said to have been observed during a visit by the Secretary of Cardinal Louis 'D' Aragon in 1517. Aspects of his work on anatomical studies, light and landscape were collected for publication by his disciple Francesco Melzi and finally published as Leonardo Treatise on Painting da Vinci in France and Italy in 1651 and Germany in 1724, with carvings based on drawings by the classical painters Nicolas Poussin. According to Arasse, the treatise, which in France entered into 62 editions in fifty years, led to Leonardo being seen as "the precursor of French academic thought of art".
While Leonardo's experiments follow clear scientific methods, Leonardo's latest and deepest analysis as a scientist by Fritjof Capra argues that Leonardo was a fundamentally different scholar from Galileo, Newton, and other scientists who followed him in that regard, as Renaissance man, theorizing and hypothesis integrating art and especially painting.
Anatomy and physiology
Leonardo began his studies in the anatomy of the human body under the apprenticeship of Andrea del Verrocchio, who demanded that his students develop a deep knowledge of the subject. As an artist, he quickly became a topographical anatomist, drawing much muscle research, tendons, and other visible anatomical features.
As a successful artist, Leonardo was given permission to dissect human corpses at Santa Maria Nuova Hospital in Florence and later at hospitals in Milan and Rome. From 1510 until 1511 he collaborated in his studies with doctor Marcantonio della Torre. Leonardo made more than 240 detailed drawings and wrote about 13,000 words to an anatomical treatise. These papers were submitted to his heir, Francesco Melzi, for publication, a very difficult task because of his scope and Leonardo's strange writing. The project was incomplete at the time of Melzi's death more than 50 years later, with only a small amount of anatomical material included in Leonardo's Treatise on painting, published in France in 1632. During this time that Melzi ordered material into chapters. chapter for publication, they were examined by anatomists and artists, including Vasari, Cellini and Albrecht DÃÆ'¼rer, who made a number of pictures of them.
Leonardo's anatomical images include many studies of the human skeleton and its parts, as well as muscles and veins. He studied the mechanical function of skeletal and muscular strength applied to him in a way that possesses modern biomechanical science. He draws the heart and vascular system, sex organs and other internal organs, making one of the first scientific images of the fetus in the womb . Pictures and notations are far ahead of their time, and if published will undoubtedly make a major contribution to medical science.
Leonardo also observed carefully and recorded the effects of age and human emotion on physiology, especially studying the effects of anger. He attracts many figures who have significant facial defects or signs of illness. Leonardo also studied and drew the anatomy of many animals, dissecting cows, birds, monkeys, bears, and frogs, and comparing in their drawings their anatomical structure with humans. He also made a number of studies on horses.
Leonardo's dissection and documentation of muscles, nerves, and veins helps to illustrate the physiology and mechanics of motion. He seeks to identify the source of their 'emotions' and expressions. He finds it difficult to incorporate the prevailing system and theories of body humor, but ultimately he leaves behind this physiological explanation of bodily functions. He made the observation that humor is not located in the cerebral or ventricular space. He documents that humor does not exist in the liver or heart, and it is the heart that defines the circulatory system. He was the first to define atherosclerosis and cirrhosis of the liver. He creates cerebral ventricular models using melted wax and makes a glass aorta to observe blood circulation through the aortic valve by using water and grass seeds to observe flow patterns. Vesalius published his work on anatomy and physiology at De humani corporis fabrica in 1543.
Engineering and invention
During his lifetime, Leonardo was rewarded as an engineer. In a letter to Ludovico il Moro, he writes that he can create different types of machines both for the protection of a city and for siege. When he fled to Venice in 1499, he found employment as an engineer and devised a removable barricade system to protect the city from attack. He also has a scheme to divert the flow of the Arno river, a project in which NiccolÃÆ'² Machiavelli also works. The Journal of Leonardo includes a large number of inventions, both practical and impractical. They include musical instruments, mechanical knights, hydraulic pumps, reversible crank mechanisms, finned mortars, and vapor cannons.
In 1502, Leonardo produced a single 720-foot span (220 m) span bridge as part of a civil engineering project for Ottoman Sultan Beyazid II of Constantinople. The bridge is intended to reach the inlet at the mouth of the Bosporus known as the Golden Horn. Beyazid does not pursue the project because he believes that such construction is impossible. Leonardo's vision was raised in 2001 when a smaller bridge based on its design was built in Norway.
Leonardo was fascinated by aviation phenomena for much of his life, generating a lot of research, including Codex on Flight of Birds
Fame and reputation
Leonardo's fame in his own life was such that the King of France took him away like a trophy, and claimed to have supported him in his old age and embraced him in his death.
His interest in Leonardo and his work has never diminished. Crowds of people still queued to see his most famous works, T-shirts still carry his most famous image, and the writers continue to call him a genius when speculating about his personal life, as well as about what is really believed by someone who is intelligent.
Giorgio Vasari, in the enlarged edition of Lives of the Artists, 1568, introduces the chapter on Leonardo in the following words:
In ordinary events many men and women are born with extraordinary talents; but sometimes, in a way that transcends nature, one extraordinary person is blessed by Heaven with beauty, grace and talent in abundance in such a way that he leaves another man far behind, all his actions seem inspired and indeed everything he does clearly comes from God is not apart from human skills. Everyone admits that this is true of Leonardo da Vinci, an extraordinary physical beauty artist, showing infinite mercy in everything he does and who cultivates his genius so brilliantly that all the problems he learns solve easily.
The continuing admiration that Leonardo was instructed from painters, critics and historians is reflected in many other written awards. Baldassare Castiglione, author of Il Cortegiano ("The Courtier"), wrote in 1528: "... Ã, the other greatest painter in the world despises this art where he is powerless..." while a biographer known as "Anonimo Gaddiano" wrote, c. 1540 : "The genius is so rare and universal that it can be said that nature works wonders on its behalf Ã, ...".
The 19th century brought a special admiration for Leonardo's genius, causing Henry Fuseli to write in 1801: "That was the beginning of the dawn of modern art, when Leonardo da Vinci parted with the splendor that distanced the former: composed of all the elements that make up the essence of genius Ã, ... "This is echoed by AE Rio who wrote in 1861:" He towers over all other artists through the strength and glory of his talents. "
In the 19th century, the scope of Leonardo's notebook was known, as were his paintings. Hippolyte Taine wrote in 1866: "Probably not in another world of such a universal genius, so unable to meet, so longing for the infinite, so natural, so far ahead of its own century and the next centuries." The art historian Bernard Berenson wrote in 1896: "Leonardo is the only artist who can be said with perfect literality: Nothing touched but turned into eternal beauty, whether it is the cross section of the skull, the structure of a weed, or the study of muscle, he, with his feelings for the line and for light and shadow, forever turning them into the values ​​of life communication. "
Interest in Leonardo's genius continues; scholars studied and translated his writings, analyzed his paintings using scientific techniques, argued for attribution and searched for recorded work but never found. Liana Bortolon, writing in 1967, said: "Because of the many interests that spur him to pursue every field of knowledge... Leonardo can be considered, absolutely right, has become a universal genius par excellence, and with all that disturbing exaggerated tones attached to the term Man is not comfortable today, faced with a genius, as he was in the 16th century. Five centuries have passed, yet we still see Leonardo in awe. "
The author of the 21st century Walter Isaacson in his biography of Leonardo is based largely on his book on thousands of notebook entries, studying personal notes, sketches, budget notes, and reflections of those he considers the greatest innovator. Isaacson was surprised to find Leonardo's "fun, joyful" side in addition to his unlimited curiosity and creative genius.
Miscellaneous
Davinciite, a mineral recently described that was recognized in 2011 by the International Mineralogical Association, is named in honor of the artist.
Art market
A portrait by Leonardo, Salvator Mundi , describes Jesus Christ holding a ball that was sold for a $ 450.3 million world record at a Christie auction in New York, November 15, 2017. The highest price paid previously for a work of art at the auction was for Pablo Picasso Les Femmes d'Alger , which sold for $ 179.4 million in May 2015 at Christie's New York. $ 300 million, for Willem de Kooning's Interchange , was sold privately in September 2015 by David Geffen Foundation to hedge fund manager Kenneth C. Griffin, formerly known as the highest selling price for any artwork.
See also
- Aerial Perspective
- Italian Renaissance Paintings
- Leonardo da Vinci, A Memory of Childhood
- Leonardo da Vinci-Fiumicino Airport
- List of Italian painters
- List of vegetarians
- Medical Renaissance
- Museo della Scienza e della Tecnologia "Leonardo da Vinci"
- Renaissance Technologies
Footnote
References
Bibliography
External links
- Leonardo da Vinci at EncyclopÃÆ'Â|dia Britannica
- Ã, Herbermann, Charles, ed. (1913). "Leonardo da Vinci". Catholic Encyclopedia . New York: Robert Appleton Company.
- Works by Leonardo da Vinci in Project Gutenberg
- Leonardo da Vinci by Maurice Walter Brockwell in Project Gutenberg
- Works by Leonardo da Vinci on LibriVox (public domain audiobook)
- Works by or about Leonardo da Vinci on the Internet Archive
- Captions & amp; complete Richter picture translation of Notebook
- Leonardo da Vinci's Note Book
- Leonardo da Vinci at BBC Science
- Leonardo da Vinci: Anatomy of the Queen Gallery, Buckingham Palace, Friday, May 4, 2012 through Sunday, October 7, 2012. High resolution anatomical images.
- Leonardo da Vinci, Master Draftsman , Catalog of an exhibition held at the Metropolitan Museum of Art, New York, January 22 - March 30, 2003.
Source of the article : Wikipedia
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