Leonardo da Vinci: Artist, Thinker and Man of Science (Great Masters)
Great Masters: a series of biographies of legendary artists with selections from their ouevre
Eugène Müntz (1845 - 1902) was a brilliant art historian who studied the lives and output of many of the world's greatest artists. Leonardo da Vinci: Artist, Thinker and Man of Science is one of his greatest contributions to the literature of the extraordinary and unique da Vinci. This new release recreates that original book and explores the drawings and paintings of da Vinci as richly as anyone who has written subsequently.
What makes this volume so unique is the manner in which Müntz marries the scientific mind of this genius with the explanation of how he understood anatomy and in turn how he expanded his insatiable mind with mechanical inventions and details the like of which we have yet to see in any other artist. But the fascination of this writing doesn't stop there. Even in the time of this writing Müntz is unafraid to approach the personality of da Vinci, focusing on how gracious a teacher he was as well as exploring the relationships he had with the men in his life - something that even today writers fear approaching.
This book is rich in examples of da Vinci's figurative and anatomical drawings, paintings, and portraits, yet it is equally respectful of the many architectural renderings and studies of drapery and preliminary sketches rarely seen. There is even a rather surprising reproduction of a telling drawing 'The Incarnate Angel' (1513-1514) from a private collection in Germany. Though this book remains one of historical importance, it is curiously intellectually beyond much of what is being shared in today's biographies. Highly recommended.
Fastened at the breast by a brooch hangs from her shoulders. One hand on the shoulder of the infant St John, at whom she is looking, the other extended over her Son while she invites the precursor to approach him. The Infant is seated on the ground and steadying himself with his left hand and blesses his young companion with the right hand. The angel places one knee on the ground beside the Child and supports him with one hand and with the other hand shows him the infant St John. Here we already.
Inevitable Bernardino dei Conti and Harck for the no less inevitable Ambrogio de Predis. The Masterpiece of Santa Maria delle Grazie The Madonna Litta, c. 1490. Tempera on canvas, transferred from a wood panel, 42 x 33 cm. The State Hermitage Museum, St. Petersburg. 46 From this point on I propose to show how the painter of the Mona Lisa, the Virgin of the Rocks and the Saint Anne developed, by which teachings of his predecessors he profited, through what intimate vicissitudes his ideas passed.
Flattened, while the upper lip protrudes like those of the felidæ: in others, the nose is hooked and prominent as a parrot’s beak. The Sforza monument, unfinished though it was, had immediately given Leonardo a place in the front rank of sculptors, just as the Last Supper had raised him to the highest place among painters. Taking into account the scope and variety of his knowledge in the exact sciences, it was natural that the artist should have burned to try his hand at architecture. An.
Boreau family assured Arsène Houssaye that the will had been drawn up in French. This assertion is anything but improbable. Leonardo probably dictated it in Italian, for we have no reason to believe he acquired the French language during the few years he spent at Amboise. His two fellow-countrymen, who, with Melzi, were present at the drawing up of the instrument, Brother Francesco of Cortona and Brother Francesco of Milan, doubtless translated his directions, as he gave them. Anatomical Studies.
Brera, to which his name is affixed, is remarkable for its exceedingly intense, almost opaque, colour and for a general weakness, emptiness and lack of inspiration. The Virgin is of a pronounced Leonardesque type and the flowers that adorn the foreground are very carefully painted. The two most brilliant disciples of the leader of the Milanese school, Antonio Bazzi, surnamed il Sodoma and Bernardino Luini, may never, possibly, have had the good fortune to listen to his counsels. I will give no.