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Author: Luke Syson
Publisher: National Gallery London
ISBN:
Category : Art
Languages : en
Pages : 330
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Book Description
A new examination of Leonardo's career that illuminates his time as court painter to the Duke of Milan, an experience that fundamentally changed his outlook and his legacy
Author: Luke Syson
Publisher: National Gallery London
ISBN:
Category : Art
Languages : en
Pages : 330
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Book Description
A new examination of Leonardo's career that illuminates his time as court painter to the Duke of Milan, an experience that fundamentally changed his outlook and his legacy
Author: Kathleen Tracy
Publisher: Mitchell Lane Publishers
ISBN: 9781584157113
Category : Artists
Languages : en
Pages : 0
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Book Description
Inventor, artist, scientist ... Leonardo da Vinci's wide-ranging inquisitiveness was the source of his greatest accomplishments and his lifelong financial difficulties-he would get bored quickly and rarely finish his projects. As an artist, only seventeen of his finished works survive, and yet they include two of the most famous paintings in the world: The Last Supper and Mona Lisa. His scientific studies of human anatomy were centuries ahead of their time. And his designs for inventions, such as mechanical flight, foresaw technologies that would not be developed for hundreds of years. Leonardo's achievements make him more than just an important historical figure: He is the ultimate Renaissance man who continues to inspire both artists and scientists more than 500 years after his death. Book jacket.
Author: Laurence B. Kanter
Publisher: Yale University Press
ISBN: 0300233019
Category : Art
Languages : en
Pages : 153
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Book Description
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.
Author: Francesca Fiorani
Publisher: Macmillan + ORM
ISBN: 0374715297
Category : Art
Languages : en
Pages : 373
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Book Description
“Insightful and beautiful. . . . A wonderful study of how Leonardo’s art and science are interwoven.” —Walter Isaacson, author of Leonardo Da Vinci A New York Times Book Review Editors’ Choice Shortly after Leonardo da Vinci’s death, his peers and rivals created the myth of the two Leonardos: there was Leonardo the artist and then, later in life, Leonardo the scientist. In this pathbreaking biographical interpretation, the art historian Francesca Fiorani tells a very different and much more interesting story. Taking a fresh look at Leonardo’s celebrated but challenging notebooks and other sources, Fiorani shows that Leonardo became fluent in science when he was still young man. As an apprentice in a Florence studio, he was especially interested in the science of optics. He aspired to use this knowledge to capture—as no artist before him had ever done—the interior lives of his subjects, to paint the human soul in its smallest, tenderest motions and vicissitudes. And then he hoped to take one further step: to gather his scientific knowledge together in a book that would be even more important than his paintings. In The Shadow Drawing, Fiorani revises our understanding of Leonardo the artist’s most renowned paintings and reconstructs the wisdom Leonardo the author hoped to impart. The result is both a stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when the two were sundered. “Fiorani’s lively intellectual adventure gives us new understanding and appreciation of Leonardo’s cross-fertilization of art and science. It is a perceptive biography of Leonardo exploring the frontiers of science but also a brilliantly informative guide to his paintings.” —Ross King, author of Brunelleschi’s Dome, Leonardo and the Last Supper, and Mad Enchantment
Author: Leonardo da Vinci
Publisher: Library of Alexandria
ISBN: 1465514147
Category : Fiction
Languages : en
Pages : 1118
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Book Description
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
Author: Gary M. Radke
Publisher: Yale University Press
ISBN:
Category : Art
Languages : en
Pages : 226
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Book Description
"Leonardo da Vinci (1452-1519) is renowned as a painter, designer, draftsman, architect, engineer, scientist, and theorist. His work as a sculptor is not commonly acknowledged, and many have argued that Leonardo believed that sculpture was an inferior art form ("of lesser genius than painting"). Challenging and overturning these assumptions, Leonardo da Vinci and the Art of Sculpture looks at the sculptural projects that the artist undertook, as well as the late Renaissance sculptures that were indebted to him." "Leonardo consistently drew inspiration from ancient sculpture, admired the work of such contemporary sculptural innovators as Donatello, and even trained under Andrea del Verrocchio, the preeminent bronze sculptor of late 15th-century Florence. Furthermore, Leonardo spent many years of his life working on two larger-than-life-sized horse sculptures - Sforza and Trivulzio - monuments to Francesco Sforza, the Duke of Milan, and to Gian Giacomo Trivulzio, his sucessor. Although neither was completed, the authors argue that these equestrian monuments show how Leonardo was intensely engaged with the design dilemmas of representing a horse rearing on its hind legs. Another highlight of the book is a group of new images of the John the Baptist Preaching to a Levite and a Pharisee, a recently restored large-scale work in the Florentine Baptistery that clearly demonstrates Leonardo's collaboration with Giovanni Francesco Rustici." --Book Jacket.
Author: Roger Whiting
Publisher:
ISBN: 9781845730956
Category : Art
Languages : en
Pages : 196
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Book Description
Leonardo da Vinci had an insatiable desire to understand the world around him and the place of humanity in it, and he believed that the knowledge he sought could only be gained through direct experience. This book contains many extracts of his writings, revealing the complex workings of his mind.
Author: Leonardo
Publisher: Yale University Press
ISBN: 9780300090956
Category : Art
Languages : en
Pages : 340
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Book Description
This is a selection of Leonardo da Vinci's writings on painting. Martin Kemp and Margaret Walker have edited material not only from his so-called Treatise on Painting but also from his surviving manuscripts and from other primary sources.
Author: Martin Clayton
Publisher: Royal Collection Trust
ISBN: 9781909741034
Category : Anatomy, Artistic
Languages : en
Pages : 0
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Book Description
"First published in hardback 2012 by Royal Collection Trust".-Title page verso.
Author: Walter Isaacson
Publisher: Simon and Schuster
ISBN: 1501139177
Category : Biography & Autobiography
Languages : en
Pages : 624
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Book Description
The #1 New York Times bestseller from Walter Isaacson brings Leonardo da Vinci to life in this exciting new biography that is “a study in creativity: how to define it, how to achieve it…Most important, it is a powerful story of an exhilarating mind and life” (The New Yorker). Based on thousands of pages from Leonardo da Vinci’s astonishing notebooks and new discoveries about his life and work, Walter Isaacson “deftly reveals an intimate Leonardo” (San Francisco Chronicle) in a narrative that connects his art to his science. He shows how Leonardo’s genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. He explored the math of optics, showed how light rays strike the cornea, and produced illusions of changing perspectives in The Last Supper. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history’s most creative genius. In the “luminous” (Daily Beast) Leonardo da Vinci, Isaacson describes how Leonardo’s delight at combining diverse passions remains the ultimate recipe for creativity. So, too, does his ease at being a bit of a misfit: illegitimate, gay, vegetarian, left-handed, easily distracted, and at times heretical. His life should remind us of the importance to be imaginative and, like talented rebels in any era, to think different. Here, da Vinci “comes to life in all his remarkable brilliance and oddity in Walter Isaacson’s ambitious new biography…a vigorous, insightful portrait” (The Washington Post).
