Leonardo da Vinci, Michelangelo, and the Renaissance …

Leonardo da Vinci Florentine, 1452 - 1519 Ginevra de' Benci [obverse] c. 1474/1478

Leonardo da Vinci, Renaissance Lefty | The Getty Iris

The drawing shows a robust male figure in motion, circumscribed within a circle and a square. The image is framed by Leonardo’s own translation of De Architectura, a treatise written by the ancient Roman architect Vitruvius (active 46–30 BCE). According to Vitruvius, circles and squares represented the perfect geometrical units and could be used to create ideal spaces. This idea inspired the work of a number of Renaissance architects, including Leonardo’s close confidant Donato Bramante (1444–1514), whose designs for the reconstructed St. Peter’s Basilica were based on these two basic shapes. Leonardo’s complicated theoretical drawing asserts that man is also constructed from these geometrical units and, thus, is perfectly proportioned. As such, man stands at the center of the universe, the point from which all else is measured.

(David Alan Brown, Leonardo apprendista, XXXIX Lettura Vinciana, 17 aprile 1999, Florence: Giunti Editoriale, 2000).

15/04/2014 · Leonardo da Vinci , Renaissance Lefty ..

Leonardo da Vinci’s claim that art be a “cosa mentale” is winning at last: recent debates around art schools and their methods, of which this book is a vast survey, demonstrate that, now more than ever, art is considered the result of a thinking process.

O’Malley, Charles Donald, and Leonardo da Vinci. Leonardo da Vinci on the Human Body. New York: Gramercy, 2003 reissue.

The restoration will be completed in the fall, just prior to the exhibition in Atlanta.

Verrocchio and Leonardo In addition to documenting and interpreting the restoration process, the exhibition Verrocchio’s David Restored will argue that Verrocchio’s David is in fact a portrait by the artist of his most famous pupil, Leonardo.

Clark, Kenneth. Leonardo da Vinci, rev. ed. Introduction by Martin Kemp. London; New York: Penguin, 1989.

12/01/2018 · Leonardo da Vinci, M..

Leonardo da Vinci was born in Anchiano, near Vinci, on 15 April 1452, and died in Amboise, near Tours, on 2 May 1519. He was an Italian painter, sculptor, architect, engineer, natural scientist, writer, and theorist. He is considered the founding artist of the High Renaissance style, what the 16th-century artists’ biographer Giorgio Vasari called the . Many of his artistic and architectural designs and inventions were widely disseminated within or soon after his lifetime. His posthumously published writings on painting helped to establish academic ideals of representation for nearly four centuries across Europe and beyond. Among his very few surviving paintings are two of the most famous and extensively studied images in the history of art, namely the and . Thanks primarily to his surviving 6,000 pages of notes and drawings, there has been extensive scholarly interest in his scientific and technological knowledge and philosophical ideas honed over many generations of scholarship. The majority of his wide-ranging writings first came to light with the publication of his notes and manuscripts in the late 19th century. The historical reception of his ideas and his unprecedented intellectual and artistic achievements, built upon a medieval and classical foundation, continue to provide significant material for scholarly investigation. Analyses of his art based on new imaging technologies are one of the most productive new fields of scholarship. Studies centered on Leonardo’s multifaceted career and unprecedented literary, scientific, and artistic legacy still dominate the field, although recent interest in his followers and his historical reception are developing into a more decentered historical and cultural context for understanding the artist, putting Leonardo studies in better touch with other scholarship and current trends. Meanwhile, the celebrations of Leonardo as an artistic genius and cultural icon have never been greater, whether the context is blockbuster exhibitions or television shows of mythic proportions.

Leonardo da Vinci: The Divine and the..

and one of the foremost scholars on Leonardo da Vinci, makes this argument based upon comparison with what is believed to be a portrait of Leonardo in his old age (Windsor Castle, inv.